Sobre la aplicación de modelos del espacio semántico de la música en el

análisis integrador de obras musicales y educación musical con

tecnologías informáticas musicales

On the application of models of the semantic space of music in the integrative analysis

of musical works and music education with music computer technologies

Irina Borisovna Gorbunova

1a

, Mikhail Sergeevich Zalivadny

2

Orcid ID: https://orcid.org/0000-0003-4389-6719

1

Orcid ID: https://orcid.org/0000-0001-9599-5925

2

Orcid ID: https://orcid.org/0000-0002-7455-006X

3

Recibido: 03 de febrero de 2020 Aceptado: 07 de junio de 2020

Abstract

In the second half of the 20th century, many music researchers demonstrated a steady interest

in music categories as the space and time, whose fundamental nature and unifying (integrating)

technologies in music

Resumen

En la segunda mitad del siglo XX, gran número de investigadores en el campo de la música

demostraron un interés constante en categorías musicales como el espacio y el tiempo, cuya

naturaleza fundamental y potencial unificador (integrador) son obvios. Sin embargo, a pesar de

la indudable contribución a la consolidación de las conclusiones, era necesario seguir

mejorando los estudios sobre música, tanto en lo que respecta al contenido como al aparato de

investigación lógico (incluidas las matemáticas). En el artículo se examinan estos aspectos del

modelo integral del espacio semántico de la música en la teoría y la práctica de la investigación

moderna y su repercusión en el sistema de educación musical contemporánea.

Introduction

The existing developments in this direction made an undeniable contribution to the

consolidation of the research findings. Nevertheless, there was an obvious need for further

development of these issues, both regarding the content and the logical (including

mathematical) research apparatus. We explored several models of the space of music that were

created in the first (for example, by Kurt (1947)) and in the second half of the 20th century (the

models of Osgood, Suci and Tannenbaum (1957), Stockhausen (1962), Xenakis (1971), and

Galeev (1973)). The conducted analysis allowed us to unite them and create a comprehensive

model of the semantic space of music. This work enabled us to consider the problem of the

relationship of spatial and temporal characteristics of musical structures of various scales. A

draft of such a model was presented by one of the authors of this article (Zalivadny) in 1987 at

the workshop “The Synthesis of Arts in the Age of Scientific and Technological Revolution”

held in Kazan as part of the All-Union School and Festival “Light and Music,” and later, in a

involved the models of Osgood, Suci and Tannenbaum (1957), Nazaikinsky and Rags (1964),

(1854)).

These findings were further exploredin the scientific cooperation with the Department

of Computing Systems and Networks of St. Petersburg State University of Aerospace

Instrumentation, the Faculty of Arts of St. Petersburg State University, the Music and Computer

St. Petersburg State Conservatory. The results of this cooperation were presented in a number

of publications with the participation of the authors of this article (Alieva and Gorbunova, 2016;

Alieva, Gorbunova and Mezentseva, 2019a; Gorbunova and Zalivadny, 2012; Zalivadny and

Burshtyn, 2005; Zalivadny, Burshtyn and Budeykina, 2007), as well as in the dissertation of the

candidate of sciences defended in 2001 on the topic “Theoretical problems of the

time, however, it became apparent that to conduct further research in this direction, it is

necessary to overcome the inconsistency in previous publications. This resulted in a collection

(Gorbunova, Zalivadny and Tovpich, 2016), as well as studies conducted at the Educational and

Methods Laboratory “Music and Computer Technologies” of Herzen State Pedagogical

University of Russia and some scientific articles and monographs, among which we would like

to mention (Gorbunova and Zalivadny, 2017).

When developing the mathematical apparatus of the proposed model, it was fairly

for example, when teaching the courses of “Mathematical research methods in musicolo gy,”

work,” “Sound and timbre programming,” “Music sound engineering,” and “Music

programming”.

Results and discussion

To determine the applicability of the comprehensive model of the semantic space of

music (respectively, to test its effectiveness), we used the introductory section of Scriabin’s

10th piano sonata (vols. 1–38) as a representative example. In this analysis, we applied the

tabular recording method (similar to the one described in the work of Nazaikinsky and Rags

(Nazaikinsky and Rags, 1964, pp. 93-98), as well as one of the analytical sections in S.

generally specific content) characteristics of music. At the same time, it was possible to

determine the structural foundations of the semantic interpretation of the analyzed extract of

Scriabin’s music by the composer himself (“forest,” sounds and emotions of the nature

(Sabaneev, 2000, p. 263)). In turn, the analysis results indicated that it was necessary to further

improvethe structure of the models, which required, on the one hand, using the apparatus of

modern mathematics (first of all, set theory (Zalivadny and Burshtyn, 2005; Zalivadny,

Burshtyn and Budeykina, 2007)), and on the other hand, a more detailed study of historical

traditions related to the theoretical consideration of the synesthetic laws of music. Here it seems

(1763) to the theoretical ideas of “Vertical Montage” by Eisenstein (1940, p. 192) and the

characteristic features of some poetic translations of Baudelaire’s sonnet “Correspondences”

(1970). According to them, synesthesia should be interpreted as a score (the lines of which

is also possible to draw an analogy with timbre banks (for example, on an organ or synthesizer),

including those with a variable structure. An important distinguishing feature of these

interpretations is that the main carriers of the meaning in them are (in the form of notes, keys,

segments themselves like in the model of Osgood, Suci and Tannenbaum (1957)), which seems

affect,” “warmth,” and “lightness”). Therefore, there is a possibility of a more flexible

interaction (similar to the timbre side of orchestral musical compositions) between various

psychological modalities and other components forming the comprehensive musical image. The

examples of this flexible interaction that allows free emergence and disappearance of these

representative example is the analysis of the episode “The Action of the Elders –Human

art synthesis and the corresponding development of an integrated model of the semantic space

of music both in music science (musicology) and in its applied aspects (Gorbunova, 2019;

Mahmood, Al-Kubaisy and Al-Khateeb, 2019; Hassan, Al-Mashhadi, Hassan and Jawad,

2019). The most significant of these is currently musiceducation. In the future, this integrated

model of the semantic space of music is to be developed by the Educational and Methods

Laboratory “Music and Computer Technologies” at Herzen State Pedagogical University. Its

employees have carried out extensive research and methodological workresulting in a

significant contribution to the structure and content, as well as the application of the model

studied. This includes a dissertation defended in the Educational Laboratory “Music and

Computer Technologies” that explored various aspects of the application of a comprehensive

model of the semantic space of music in the music education involving computer technologies,

as well as studied the properties of this model and its applicationin computer simulation of

culture” (Romanenko, 2015); “Methods of teaching computer science through music computer

the concept of music and computer education in the training of a music teacher” (Kameris,