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PHILOSOPHICAL
LITERARY
JOURNAL
ISSN 0869-5377
Author: Rondarev Artem

Rondarev Artem

Lecturer, School of Cultural Studies, Faculty of Humanities, National Research University Higher School of Economics (HSE). Address: 21/4 Staraya Basmannaya str., 105066 Moscow, Russia. E-mail: arondarev@gmail.com.

Publications

A Different Philosophy of Music / Logos. 2016. № 4 (113). P. 1-6
annotation: 
Keywords: 
Fear of Repetition. Vladimir Martynov’s Philosophy, Metaphysics, and Methodology / Logos. 2016. № 4 (113). P. 119-149
annotation:  The article examines the philosophical, historical, and theoretical views of the Russian composer Vladimir Martynov in the context of musical minimalism, a style closely associated with the composer’s working methods. In particular, the article focuses on the category of time, which in minimalist music undergoes drastic transformation resulting in a totally new array of procedural instructions and approaches to musical structure. The author aims to demonstrate how philosophical, theoretical, technical and social aspects of minimalism correspond with Martynov’s own concept of the “end of the time of composers,” and how they inform, illustrate and, in some respects, contradict it. The first part of the article deals with Martynov’s historical philosophy of music, which describes the development of musical forms and practices through a series of dispositions referring to musical structure and the role of an author in its creation. It discusses the three basic forms of music according to Martynov: “ritual music,” “composers’ music” and liturgical chant; defines the sources of this conception; and compares Martynov’s interpretations with the original content of the sources. The second part of the article outlines the history of American minimalist music; examines its origins; conceptualizes its seminal problem, namely, the representation in music of “non-teleological” time; and considers related methodological, social, and ideological effects of such representation. In the third part of the article, the author draws a correlation between Martynov’s music and the methodology of minimalism, and attempts to define how the composer’s digression from the agenda underlying minimalism influences both his music and his philosophy.
Keywords:  Vladimir Martynov; minimalism; time; temporality; repetition; the end of the time of composers; determinism; referentiality; teleology; meaning of music
Translator’s Note / Logos. 2016. № 3 (112). P. 2-5
annotation: 
Keywords: 
Dissolving in Everyday Life / Logos. 2015. № 2 (104). P. 232-237
annotation: 
Keywords: 

Rondarev Artem

Lecturer, School of Cultural Studies, Faculty of Humanities, National Research University Higher School of Economics (HSE). Address: 21/4 Staraya Basmannaya str., 105066 Moscow, Russia. E-mail: arondarev@gmail.com.

Publications

A Different Philosophy of Music / Logos. 2016. № 4 (113). P. 1-6
annotation: 
Keywords: 
Fear of Repetition. Vladimir Martynov’s Philosophy, Metaphysics, and Methodology / Logos. 2016. № 4 (113). P. 119-149
annotation:  The article examines the philosophical, historical, and theoretical views of the Russian composer Vladimir Martynov in the context of musical minimalism, a style closely associated with the composer’s working methods. In particular, the article focuses on the category of time, which in minimalist music undergoes drastic transformation resulting in a totally new array of procedural instructions and approaches to musical structure. The author aims to demonstrate how philosophical, theoretical, technical and social aspects of minimalism correspond with Martynov’s own concept of the “end of the time of composers,” and how they inform, illustrate and, in some respects, contradict it. The first part of the article deals with Martynov’s historical philosophy of music, which describes the development of musical forms and practices through a series of dispositions referring to musical structure and the role of an author in its creation. It discusses the three basic forms of music according to Martynov: “ritual music,” “composers’ music” and liturgical chant; defines the sources of this conception; and compares Martynov’s interpretations with the original content of the sources. The second part of the article outlines the history of American minimalist music; examines its origins; conceptualizes its seminal problem, namely, the representation in music of “non-teleological” time; and considers related methodological, social, and ideological effects of such representation. In the third part of the article, the author draws a correlation between Martynov’s music and the methodology of minimalism, and attempts to define how the composer’s digression from the agenda underlying minimalism influences both his music and his philosophy.
Keywords:  Vladimir Martynov; minimalism; time; temporality; repetition; the end of the time of composers; determinism; referentiality; teleology; meaning of music
Translator’s Note / Logos. 2016. № 3 (112). P. 2-5
annotation: 
Keywords: 
Dissolving in Everyday Life / Logos. 2015. № 2 (104). P. 232-237
annotation: 
Keywords: 

Rondarev Artem

Lecturer, School of Cultural Studies, Faculty of Humanities, National Research University Higher School of Economics (HSE). Address: 21/4 Staraya Basmannaya str., 105066 Moscow, Russia. E-mail: arondarev@gmail.com.

Publications

A Different Philosophy of Music / Logos. 2016. № 4 (113). P. 1-6
annotation: 
Keywords: 
Fear of Repetition. Vladimir Martynov’s Philosophy, Metaphysics, and Methodology / Logos. 2016. № 4 (113). P. 119-149
annotation:  The article examines the philosophical, historical, and theoretical views of the Russian composer Vladimir Martynov in the context of musical minimalism, a style closely associated with the composer’s working methods. In particular, the article focuses on the category of time, which in minimalist music undergoes drastic transformation resulting in a totally new array of procedural instructions and approaches to musical structure. The author aims to demonstrate how philosophical, theoretical, technical and social aspects of minimalism correspond with Martynov’s own concept of the “end of the time of composers,” and how they inform, illustrate and, in some respects, contradict it. The first part of the article deals with Martynov’s historical philosophy of music, which describes the development of musical forms and practices through a series of dispositions referring to musical structure and the role of an author in its creation. It discusses the three basic forms of music according to Martynov: “ritual music,” “composers’ music” and liturgical chant; defines the sources of this conception; and compares Martynov’s interpretations with the original content of the sources. The second part of the article outlines the history of American minimalist music; examines its origins; conceptualizes its seminal problem, namely, the representation in music of “non-teleological” time; and considers related methodological, social, and ideological effects of such representation. In the third part of the article, the author draws a correlation between Martynov’s music and the methodology of minimalism, and attempts to define how the composer’s digression from the agenda underlying minimalism influences both his music and his philosophy.
Keywords:  Vladimir Martynov; minimalism; time; temporality; repetition; the end of the time of composers; determinism; referentiality; teleology; meaning of music
Translator’s Note / Logos. 2016. № 3 (112). P. 2-5
annotation: 
Keywords: 
Dissolving in Everyday Life / Logos. 2015. № 2 (104). P. 232-237
annotation: 
Keywords: 

Rondarev Artem

Lecturer, School of Cultural Studies, Faculty of Humanities, National Research University Higher School of Economics (HSE). Address: 21/4 Staraya Basmannaya str., 105066 Moscow, Russia. E-mail: arondarev@gmail.com.

Publications

A Different Philosophy of Music / Logos. 2016. № 4 (113). P. 1-6
annotation: 
Keywords: 
Fear of Repetition. Vladimir Martynov’s Philosophy, Metaphysics, and Methodology / Logos. 2016. № 4 (113). P. 119-149
annotation:  The article examines the philosophical, historical, and theoretical views of the Russian composer Vladimir Martynov in the context of musical minimalism, a style closely associated with the composer’s working methods. In particular, the article focuses on the category of time, which in minimalist music undergoes drastic transformation resulting in a totally new array of procedural instructions and approaches to musical structure. The author aims to demonstrate how philosophical, theoretical, technical and social aspects of minimalism correspond with Martynov’s own concept of the “end of the time of composers,” and how they inform, illustrate and, in some respects, contradict it. The first part of the article deals with Martynov’s historical philosophy of music, which describes the development of musical forms and practices through a series of dispositions referring to musical structure and the role of an author in its creation. It discusses the three basic forms of music according to Martynov: “ritual music,” “composers’ music” and liturgical chant; defines the sources of this conception; and compares Martynov’s interpretations with the original content of the sources. The second part of the article outlines the history of American minimalist music; examines its origins; conceptualizes its seminal problem, namely, the representation in music of “non-teleological” time; and considers related methodological, social, and ideological effects of such representation. In the third part of the article, the author draws a correlation between Martynov’s music and the methodology of minimalism, and attempts to define how the composer’s digression from the agenda underlying minimalism influences both his music and his philosophy.
Keywords:  Vladimir Martynov; minimalism; time; temporality; repetition; the end of the time of composers; determinism; referentiality; teleology; meaning of music
Translator’s Note / Logos. 2016. № 3 (112). P. 2-5
annotation: 
Keywords: 
Dissolving in Everyday Life / Logos. 2015. № 2 (104). P. 232-237
annotation: 
Keywords: 

Rondarev Artem

Lecturer, School of Cultural Studies, Faculty of Humanities, National Research University Higher School of Economics (HSE). Address: 21/4 Staraya Basmannaya str., 105066 Moscow, Russia. E-mail: arondarev@gmail.com.

Publications

A Different Philosophy of Music / Logos. 2016. № 4 (113). P. 1-6
annotation: 
Keywords: 
Fear of Repetition. Vladimir Martynov’s Philosophy, Metaphysics, and Methodology / Logos. 2016. № 4 (113). P. 119-149
annotation:  The article examines the philosophical, historical, and theoretical views of the Russian composer Vladimir Martynov in the context of musical minimalism, a style closely associated with the composer’s working methods. In particular, the article focuses on the category of time, which in minimalist music undergoes drastic transformation resulting in a totally new array of procedural instructions and approaches to musical structure. The author aims to demonstrate how philosophical, theoretical, technical and social aspects of minimalism correspond with Martynov’s own concept of the “end of the time of composers,” and how they inform, illustrate and, in some respects, contradict it. The first part of the article deals with Martynov’s historical philosophy of music, which describes the development of musical forms and practices through a series of dispositions referring to musical structure and the role of an author in its creation. It discusses the three basic forms of music according to Martynov: “ritual music,” “composers’ music” and liturgical chant; defines the sources of this conception; and compares Martynov’s interpretations with the original content of the sources. The second part of the article outlines the history of American minimalist music; examines its origins; conceptualizes its seminal problem, namely, the representation in music of “non-teleological” time; and considers related methodological, social, and ideological effects of such representation. In the third part of the article, the author draws a correlation between Martynov’s music and the methodology of minimalism, and attempts to define how the composer’s digression from the agenda underlying minimalism influences both his music and his philosophy.
Keywords:  Vladimir Martynov; minimalism; time; temporality; repetition; the end of the time of composers; determinism; referentiality; teleology; meaning of music
Translator’s Note / Logos. 2016. № 3 (112). P. 2-5
annotation: 
Keywords: 
Dissolving in Everyday Life / Logos. 2015. № 2 (104). P. 232-237
annotation: 
Keywords: 

Rondarev Artem

Lecturer, School of Cultural Studies, Faculty of Humanities, National Research University Higher School of Economics (HSE). Address: 21/4 Staraya Basmannaya str., 105066 Moscow, Russia. E-mail: arondarev@gmail.com.

Publications

A Different Philosophy of Music / Logos. 2016. № 4 (113). P. 1-6
annotation: 
Keywords: 
Fear of Repetition. Vladimir Martynov’s Philosophy, Metaphysics, and Methodology / Logos. 2016. № 4 (113). P. 119-149
annotation:  The article examines the philosophical, historical, and theoretical views of the Russian composer Vladimir Martynov in the context of musical minimalism, a style closely associated with the composer’s working methods. In particular, the article focuses on the category of time, which in minimalist music undergoes drastic transformation resulting in a totally new array of procedural instructions and approaches to musical structure. The author aims to demonstrate how philosophical, theoretical, technical and social aspects of minimalism correspond with Martynov’s own concept of the “end of the time of composers,” and how they inform, illustrate and, in some respects, contradict it. The first part of the article deals with Martynov’s historical philosophy of music, which describes the development of musical forms and practices through a series of dispositions referring to musical structure and the role of an author in its creation. It discusses the three basic forms of music according to Martynov: “ritual music,” “composers’ music” and liturgical chant; defines the sources of this conception; and compares Martynov’s interpretations with the original content of the sources. The second part of the article outlines the history of American minimalist music; examines its origins; conceptualizes its seminal problem, namely, the representation in music of “non-teleological” time; and considers related methodological, social, and ideological effects of such representation. In the third part of the article, the author draws a correlation between Martynov’s music and the methodology of minimalism, and attempts to define how the composer’s digression from the agenda underlying minimalism influences both his music and his philosophy.
Keywords:  Vladimir Martynov; minimalism; time; temporality; repetition; the end of the time of composers; determinism; referentiality; teleology; meaning of music
Translator’s Note / Logos. 2016. № 3 (112). P. 2-5
annotation: 
Keywords: 
Dissolving in Everyday Life / Logos. 2015. № 2 (104). P. 232-237
annotation: 
Keywords: 

Rondarev Artem

Lecturer, School of Cultural Studies, Faculty of Humanities, National Research University Higher School of Economics (HSE). Address: 21/4 Staraya Basmannaya str., 105066 Moscow, Russia. E-mail: arondarev@gmail.com.

Publications

A Different Philosophy of Music / Logos. 2016. № 4 (113). P. 1-6
annotation: 
Keywords: 
Fear of Repetition. Vladimir Martynov’s Philosophy, Metaphysics, and Methodology / Logos. 2016. № 4 (113). P. 119-149
annotation:  The article examines the philosophical, historical, and theoretical views of the Russian composer Vladimir Martynov in the context of musical minimalism, a style closely associated with the composer’s working methods. In particular, the article focuses on the category of time, which in minimalist music undergoes drastic transformation resulting in a totally new array of procedural instructions and approaches to musical structure. The author aims to demonstrate how philosophical, theoretical, technical and social aspects of minimalism correspond with Martynov’s own concept of the “end of the time of composers,” and how they inform, illustrate and, in some respects, contradict it. The first part of the article deals with Martynov’s historical philosophy of music, which describes the development of musical forms and practices through a series of dispositions referring to musical structure and the role of an author in its creation. It discusses the three basic forms of music according to Martynov: “ritual music,” “composers’ music” and liturgical chant; defines the sources of this conception; and compares Martynov’s interpretations with the original content of the sources. The second part of the article outlines the history of American minimalist music; examines its origins; conceptualizes its seminal problem, namely, the representation in music of “non-teleological” time; and considers related methodological, social, and ideological effects of such representation. In the third part of the article, the author draws a correlation between Martynov’s music and the methodology of minimalism, and attempts to define how the composer’s digression from the agenda underlying minimalism influences both his music and his philosophy.
Keywords:  Vladimir Martynov; minimalism; time; temporality; repetition; the end of the time of composers; determinism; referentiality; teleology; meaning of music
Translator’s Note / Logos. 2016. № 3 (112). P. 2-5
annotation: 
Keywords: 
Dissolving in Everyday Life / Logos. 2015. № 2 (104). P. 232-237
annotation: 
Keywords: 

Rondarev Artem

Lecturer, School of Cultural Studies, Faculty of Humanities, National Research University Higher School of Economics (HSE). Address: 21/4 Staraya Basmannaya str., 105066 Moscow, Russia. E-mail: arondarev@gmail.com.

Publications

A Different Philosophy of Music / Logos. 2016. № 4 (113). P. 1-6
annotation: 
Keywords: 
Fear of Repetition. Vladimir Martynov’s Philosophy, Metaphysics, and Methodology / Logos. 2016. № 4 (113). P. 119-149
annotation:  The article examines the philosophical, historical, and theoretical views of the Russian composer Vladimir Martynov in the context of musical minimalism, a style closely associated with the composer’s working methods. In particular, the article focuses on the category of time, which in minimalist music undergoes drastic transformation resulting in a totally new array of procedural instructions and approaches to musical structure. The author aims to demonstrate how philosophical, theoretical, technical and social aspects of minimalism correspond with Martynov’s own concept of the “end of the time of composers,” and how they inform, illustrate and, in some respects, contradict it. The first part of the article deals with Martynov’s historical philosophy of music, which describes the development of musical forms and practices through a series of dispositions referring to musical structure and the role of an author in its creation. It discusses the three basic forms of music according to Martynov: “ritual music,” “composers’ music” and liturgical chant; defines the sources of this conception; and compares Martynov’s interpretations with the original content of the sources. The second part of the article outlines the history of American minimalist music; examines its origins; conceptualizes its seminal problem, namely, the representation in music of “non-teleological” time; and considers related methodological, social, and ideological effects of such representation. In the third part of the article, the author draws a correlation between Martynov’s music and the methodology of minimalism, and attempts to define how the composer’s digression from the agenda underlying minimalism influences both his music and his philosophy.
Keywords:  Vladimir Martynov; minimalism; time; temporality; repetition; the end of the time of composers; determinism; referentiality; teleology; meaning of music
Translator’s Note / Logos. 2016. № 3 (112). P. 2-5
annotation: 
Keywords: 
Dissolving in Everyday Life / Logos. 2015. № 2 (104). P. 232-237
annotation: 
Keywords: 

Rondarev Artem

Lecturer, School of Cultural Studies, Faculty of Humanities, National Research University Higher School of Economics (HSE). Address: 21/4 Staraya Basmannaya str., 105066 Moscow, Russia. E-mail: arondarev@gmail.com.

Publications

A Different Philosophy of Music / Logos. 2016. № 4 (113). P. 1-6
annotation: 
Keywords: 
Fear of Repetition. Vladimir Martynov’s Philosophy, Metaphysics, and Methodology / Logos. 2016. № 4 (113). P. 119-149
annotation:  The article examines the philosophical, historical, and theoretical views of the Russian composer Vladimir Martynov in the context of musical minimalism, a style closely associated with the composer’s working methods. In particular, the article focuses on the category of time, which in minimalist music undergoes drastic transformation resulting in a totally new array of procedural instructions and approaches to musical structure. The author aims to demonstrate how philosophical, theoretical, technical and social aspects of minimalism correspond with Martynov’s own concept of the “end of the time of composers,” and how they inform, illustrate and, in some respects, contradict it. The first part of the article deals with Martynov’s historical philosophy of music, which describes the development of musical forms and practices through a series of dispositions referring to musical structure and the role of an author in its creation. It discusses the three basic forms of music according to Martynov: “ritual music,” “composers’ music” and liturgical chant; defines the sources of this conception; and compares Martynov’s interpretations with the original content of the sources. The second part of the article outlines the history of American minimalist music; examines its origins; conceptualizes its seminal problem, namely, the representation in music of “non-teleological” time; and considers related methodological, social, and ideological effects of such representation. In the third part of the article, the author draws a correlation between Martynov’s music and the methodology of minimalism, and attempts to define how the composer’s digression from the agenda underlying minimalism influences both his music and his philosophy.
Keywords:  Vladimir Martynov; minimalism; time; temporality; repetition; the end of the time of composers; determinism; referentiality; teleology; meaning of music
Translator’s Note / Logos. 2016. № 3 (112). P. 2-5
annotation: 
Keywords: 
Dissolving in Everyday Life / Logos. 2015. № 2 (104). P. 232-237
annotation: 
Keywords: 

Rondarev Artem

Lecturer, School of Cultural Studies, Faculty of Humanities, National Research University Higher School of Economics (HSE). Address: 21/4 Staraya Basmannaya str., 105066 Moscow, Russia. E-mail: arondarev@gmail.com.

Publications

A Different Philosophy of Music / Logos. 2016. № 4 (113). P. 1-6
annotation: 
Keywords: 
Fear of Repetition. Vladimir Martynov’s Philosophy, Metaphysics, and Methodology / Logos. 2016. № 4 (113). P. 119-149
annotation:  The article examines the philosophical, historical, and theoretical views of the Russian composer Vladimir Martynov in the context of musical minimalism, a style closely associated with the composer’s working methods. In particular, the article focuses on the category of time, which in minimalist music undergoes drastic transformation resulting in a totally new array of procedural instructions and approaches to musical structure. The author aims to demonstrate how philosophical, theoretical, technical and social aspects of minimalism correspond with Martynov’s own concept of the “end of the time of composers,” and how they inform, illustrate and, in some respects, contradict it. The first part of the article deals with Martynov’s historical philosophy of music, which describes the development of musical forms and practices through a series of dispositions referring to musical structure and the role of an author in its creation. It discusses the three basic forms of music according to Martynov: “ritual music,” “composers’ music” and liturgical chant; defines the sources of this conception; and compares Martynov’s interpretations with the original content of the sources. The second part of the article outlines the history of American minimalist music; examines its origins; conceptualizes its seminal problem, namely, the representation in music of “non-teleological” time; and considers related methodological, social, and ideological effects of such representation. In the third part of the article, the author draws a correlation between Martynov’s music and the methodology of minimalism, and attempts to define how the composer’s digression from the agenda underlying minimalism influences both his music and his philosophy.
Keywords:  Vladimir Martynov; minimalism; time; temporality; repetition; the end of the time of composers; determinism; referentiality; teleology; meaning of music
Translator’s Note / Logos. 2016. № 3 (112). P. 2-5
annotation: 
Keywords: 
Dissolving in Everyday Life / Logos. 2015. № 2 (104). P. 232-237
annotation: 
Keywords: 

Rondarev Artem

Lecturer, School of Cultural Studies, Faculty of Humanities, National Research University Higher School of Economics (HSE). Address: 21/4 Staraya Basmannaya str., 105066 Moscow, Russia. E-mail: arondarev@gmail.com.

Publications

A Different Philosophy of Music / Logos. 2016. № 4 (113). P. 1-6
annotation: 
Keywords: 
Fear of Repetition. Vladimir Martynov’s Philosophy, Metaphysics, and Methodology / Logos. 2016. № 4 (113). P. 119-149
annotation:  The article examines the philosophical, historical, and theoretical views of the Russian composer Vladimir Martynov in the context of musical minimalism, a style closely associated with the composer’s working methods. In particular, the article focuses on the category of time, which in minimalist music undergoes drastic transformation resulting in a totally new array of procedural instructions and approaches to musical structure. The author aims to demonstrate how philosophical, theoretical, technical and social aspects of minimalism correspond with Martynov’s own concept of the “end of the time of composers,” and how they inform, illustrate and, in some respects, contradict it. The first part of the article deals with Martynov’s historical philosophy of music, which describes the development of musical forms and practices through a series of dispositions referring to musical structure and the role of an author in its creation. It discusses the three basic forms of music according to Martynov: “ritual music,” “composers’ music” and liturgical chant; defines the sources of this conception; and compares Martynov’s interpretations with the original content of the sources. The second part of the article outlines the history of American minimalist music; examines its origins; conceptualizes its seminal problem, namely, the representation in music of “non-teleological” time; and considers related methodological, social, and ideological effects of such representation. In the third part of the article, the author draws a correlation between Martynov’s music and the methodology of minimalism, and attempts to define how the composer’s digression from the agenda underlying minimalism influences both his music and his philosophy.
Keywords:  Vladimir Martynov; minimalism; time; temporality; repetition; the end of the time of composers; determinism; referentiality; teleology; meaning of music
Translator’s Note / Logos. 2016. № 3 (112). P. 2-5
annotation: 
Keywords: 
Dissolving in Everyday Life / Logos. 2015. № 2 (104). P. 232-237
annotation: 
Keywords: 

Rondarev Artem

Lecturer, School of Cultural Studies, Faculty of Humanities, National Research University Higher School of Economics (HSE). Address: 21/4 Staraya Basmannaya str., 105066 Moscow, Russia. E-mail: arondarev@gmail.com.

Publications

A Different Philosophy of Music / Logos. 2016. № 4 (113). P. 1-6
annotation: 
Keywords: 
Fear of Repetition. Vladimir Martynov’s Philosophy, Metaphysics, and Methodology / Logos. 2016. № 4 (113). P. 119-149
annotation:  The article examines the philosophical, historical, and theoretical views of the Russian composer Vladimir Martynov in the context of musical minimalism, a style closely associated with the composer’s working methods. In particular, the article focuses on the category of time, which in minimalist music undergoes drastic transformation resulting in a totally new array of procedural instructions and approaches to musical structure. The author aims to demonstrate how philosophical, theoretical, technical and social aspects of minimalism correspond with Martynov’s own concept of the “end of the time of composers,” and how they inform, illustrate and, in some respects, contradict it. The first part of the article deals with Martynov’s historical philosophy of music, which describes the development of musical forms and practices through a series of dispositions referring to musical structure and the role of an author in its creation. It discusses the three basic forms of music according to Martynov: “ritual music,” “composers’ music” and liturgical chant; defines the sources of this conception; and compares Martynov’s interpretations with the original content of the sources. The second part of the article outlines the history of American minimalist music; examines its origins; conceptualizes its seminal problem, namely, the representation in music of “non-teleological” time; and considers related methodological, social, and ideological effects of such representation. In the third part of the article, the author draws a correlation between Martynov’s music and the methodology of minimalism, and attempts to define how the composer’s digression from the agenda underlying minimalism influences both his music and his philosophy.
Keywords:  Vladimir Martynov; minimalism; time; temporality; repetition; the end of the time of composers; determinism; referentiality; teleology; meaning of music
Translator’s Note / Logos. 2016. № 3 (112). P. 2-5
annotation: 
Keywords: 
Dissolving in Everyday Life / Logos. 2015. № 2 (104). P. 232-237
annotation: 
Keywords: 

Rondarev Artem

Lecturer, School of Cultural Studies, Faculty of Humanities, National Research University Higher School of Economics (HSE). Address: 21/4 Staraya Basmannaya str., 105066 Moscow, Russia. E-mail: arondarev@gmail.com.

Publications

A Different Philosophy of Music / Logos. 2016. № 4 (113). P. 1-6
annotation: 
Keywords: 
Fear of Repetition. Vladimir Martynov’s Philosophy, Metaphysics, and Methodology / Logos. 2016. № 4 (113). P. 119-149
annotation:  The article examines the philosophical, historical, and theoretical views of the Russian composer Vladimir Martynov in the context of musical minimalism, a style closely associated with the composer’s working methods. In particular, the article focuses on the category of time, which in minimalist music undergoes drastic transformation resulting in a totally new array of procedural instructions and approaches to musical structure. The author aims to demonstrate how philosophical, theoretical, technical and social aspects of minimalism correspond with Martynov’s own concept of the “end of the time of composers,” and how they inform, illustrate and, in some respects, contradict it. The first part of the article deals with Martynov’s historical philosophy of music, which describes the development of musical forms and practices through a series of dispositions referring to musical structure and the role of an author in its creation. It discusses the three basic forms of music according to Martynov: “ritual music,” “composers’ music” and liturgical chant; defines the sources of this conception; and compares Martynov’s interpretations with the original content of the sources. The second part of the article outlines the history of American minimalist music; examines its origins; conceptualizes its seminal problem, namely, the representation in music of “non-teleological” time; and considers related methodological, social, and ideological effects of such representation. In the third part of the article, the author draws a correlation between Martynov’s music and the methodology of minimalism, and attempts to define how the composer’s digression from the agenda underlying minimalism influences both his music and his philosophy.
Keywords:  Vladimir Martynov; minimalism; time; temporality; repetition; the end of the time of composers; determinism; referentiality; teleology; meaning of music
Translator’s Note / Logos. 2016. № 3 (112). P. 2-5
annotation: 
Keywords: 
Dissolving in Everyday Life / Logos. 2015. № 2 (104). P. 232-237
annotation: 
Keywords: 

Rondarev Artem

Lecturer, School of Cultural Studies, Faculty of Humanities, National Research University Higher School of Economics (HSE). Address: 21/4 Staraya Basmannaya str., 105066 Moscow, Russia. E-mail: arondarev@gmail.com.

Publications

A Different Philosophy of Music / Logos. 2016. № 4 (113). P. 1-6
annotation: 
Keywords: 
Fear of Repetition. Vladimir Martynov’s Philosophy, Metaphysics, and Methodology / Logos. 2016. № 4 (113). P. 119-149
annotation:  The article examines the philosophical, historical, and theoretical views of the Russian composer Vladimir Martynov in the context of musical minimalism, a style closely associated with the composer’s working methods. In particular, the article focuses on the category of time, which in minimalist music undergoes drastic transformation resulting in a totally new array of procedural instructions and approaches to musical structure. The author aims to demonstrate how philosophical, theoretical, technical and social aspects of minimalism correspond with Martynov’s own concept of the “end of the time of composers,” and how they inform, illustrate and, in some respects, contradict it. The first part of the article deals with Martynov’s historical philosophy of music, which describes the development of musical forms and practices through a series of dispositions referring to musical structure and the role of an author in its creation. It discusses the three basic forms of music according to Martynov: “ritual music,” “composers’ music” and liturgical chant; defines the sources of this conception; and compares Martynov’s interpretations with the original content of the sources. The second part of the article outlines the history of American minimalist music; examines its origins; conceptualizes its seminal problem, namely, the representation in music of “non-teleological” time; and considers related methodological, social, and ideological effects of such representation. In the third part of the article, the author draws a correlation between Martynov’s music and the methodology of minimalism, and attempts to define how the composer’s digression from the agenda underlying minimalism influences both his music and his philosophy.
Keywords:  Vladimir Martynov; minimalism; time; temporality; repetition; the end of the time of composers; determinism; referentiality; teleology; meaning of music
Translator’s Note / Logos. 2016. № 3 (112). P. 2-5
annotation: 
Keywords: 
Dissolving in Everyday Life / Logos. 2015. № 2 (104). P. 232-237
annotation: 
Keywords: 

Rondarev Artem

Lecturer, School of Cultural Studies, Faculty of Humanities, National Research University Higher School of Economics (HSE). Address: 21/4 Staraya Basmannaya str., 105066 Moscow, Russia. E-mail: arondarev@gmail.com.

Publications

A Different Philosophy of Music / Logos. 2016. № 4 (113). P. 1-6
annotation: 
Keywords: 
Fear of Repetition. Vladimir Martynov’s Philosophy, Metaphysics, and Methodology / Logos. 2016. № 4 (113). P. 119-149
annotation:  The article examines the philosophical, historical, and theoretical views of the Russian composer Vladimir Martynov in the context of musical minimalism, a style closely associated with the composer’s working methods. In particular, the article focuses on the category of time, which in minimalist music undergoes drastic transformation resulting in a totally new array of procedural instructions and approaches to musical structure. The author aims to demonstrate how philosophical, theoretical, technical and social aspects of minimalism correspond with Martynov’s own concept of the “end of the time of composers,” and how they inform, illustrate and, in some respects, contradict it. The first part of the article deals with Martynov’s historical philosophy of music, which describes the development of musical forms and practices through a series of dispositions referring to musical structure and the role of an author in its creation. It discusses the three basic forms of music according to Martynov: “ritual music,” “composers’ music” and liturgical chant; defines the sources of this conception; and compares Martynov’s interpretations with the original content of the sources. The second part of the article outlines the history of American minimalist music; examines its origins; conceptualizes its seminal problem, namely, the representation in music of “non-teleological” time; and considers related methodological, social, and ideological effects of such representation. In the third part of the article, the author draws a correlation between Martynov’s music and the methodology of minimalism, and attempts to define how the composer’s digression from the agenda underlying minimalism influences both his music and his philosophy.
Keywords:  Vladimir Martynov; minimalism; time; temporality; repetition; the end of the time of composers; determinism; referentiality; teleology; meaning of music
Translator’s Note / Logos. 2016. № 3 (112). P. 2-5
annotation: 
Keywords: 
Dissolving in Everyday Life / Logos. 2015. № 2 (104). P. 232-237
annotation: 
Keywords: 

Rondarev Artem

Lecturer, School of Cultural Studies, Faculty of Humanities, National Research University Higher School of Economics (HSE). Address: 21/4 Staraya Basmannaya str., 105066 Moscow, Russia. E-mail: arondarev@gmail.com.

Publications

A Different Philosophy of Music / Logos. 2016. № 4 (113). P. 1-6
annotation: 
Keywords: 
Fear of Repetition. Vladimir Martynov’s Philosophy, Metaphysics, and Methodology / Logos. 2016. № 4 (113). P. 119-149
annotation:  The article examines the philosophical, historical, and theoretical views of the Russian composer Vladimir Martynov in the context of musical minimalism, a style closely associated with the composer’s working methods. In particular, the article focuses on the category of time, which in minimalist music undergoes drastic transformation resulting in a totally new array of procedural instructions and approaches to musical structure. The author aims to demonstrate how philosophical, theoretical, technical and social aspects of minimalism correspond with Martynov’s own concept of the “end of the time of composers,” and how they inform, illustrate and, in some respects, contradict it. The first part of the article deals with Martynov’s historical philosophy of music, which describes the development of musical forms and practices through a series of dispositions referring to musical structure and the role of an author in its creation. It discusses the three basic forms of music according to Martynov: “ritual music,” “composers’ music” and liturgical chant; defines the sources of this conception; and compares Martynov’s interpretations with the original content of the sources. The second part of the article outlines the history of American minimalist music; examines its origins; conceptualizes its seminal problem, namely, the representation in music of “non-teleological” time; and considers related methodological, social, and ideological effects of such representation. In the third part of the article, the author draws a correlation between Martynov’s music and the methodology of minimalism, and attempts to define how the composer’s digression from the agenda underlying minimalism influences both his music and his philosophy.
Keywords:  Vladimir Martynov; minimalism; time; temporality; repetition; the end of the time of composers; determinism; referentiality; teleology; meaning of music
Translator’s Note / Logos. 2016. № 3 (112). P. 2-5
annotation: 
Keywords: 
Dissolving in Everyday Life / Logos. 2015. № 2 (104). P. 232-237
annotation: 
Keywords: 

Rondarev Artem

Lecturer, School of Cultural Studies, Faculty of Humanities, National Research University Higher School of Economics (HSE). Address: 21/4 Staraya Basmannaya str., 105066 Moscow, Russia. E-mail: arondarev@gmail.com.

Publications

A Different Philosophy of Music / Logos. 2016. № 4 (113). P. 1-6
annotation: 
Keywords: 
Fear of Repetition. Vladimir Martynov’s Philosophy, Metaphysics, and Methodology / Logos. 2016. № 4 (113). P. 119-149
annotation:  The article examines the philosophical, historical, and theoretical views of the Russian composer Vladimir Martynov in the context of musical minimalism, a style closely associated with the composer’s working methods. In particular, the article focuses on the category of time, which in minimalist music undergoes drastic transformation resulting in a totally new array of procedural instructions and approaches to musical structure. The author aims to demonstrate how philosophical, theoretical, technical and social aspects of minimalism correspond with Martynov’s own concept of the “end of the time of composers,” and how they inform, illustrate and, in some respects, contradict it. The first part of the article deals with Martynov’s historical philosophy of music, which describes the development of musical forms and practices through a series of dispositions referring to musical structure and the role of an author in its creation. It discusses the three basic forms of music according to Martynov: “ritual music,” “composers’ music” and liturgical chant; defines the sources of this conception; and compares Martynov’s interpretations with the original content of the sources. The second part of the article outlines the history of American minimalist music; examines its origins; conceptualizes its seminal problem, namely, the representation in music of “non-teleological” time; and considers related methodological, social, and ideological effects of such representation. In the third part of the article, the author draws a correlation between Martynov’s music and the methodology of minimalism, and attempts to define how the composer’s digression from the agenda underlying minimalism influences both his music and his philosophy.
Keywords:  Vladimir Martynov; minimalism; time; temporality; repetition; the end of the time of composers; determinism; referentiality; teleology; meaning of music
Translator’s Note / Logos. 2016. № 3 (112). P. 2-5
annotation: 
Keywords: 
Dissolving in Everyday Life / Logos. 2015. № 2 (104). P. 232-237
annotation: 
Keywords: 

Rondarev Artem

Lecturer, School of Cultural Studies, Faculty of Humanities, National Research University Higher School of Economics (HSE). Address: 21/4 Staraya Basmannaya str., 105066 Moscow, Russia. E-mail: arondarev@gmail.com.

Publications

A Different Philosophy of Music / Logos. 2016. № 4 (113). P. 1-6
annotation: 
Keywords: 
Fear of Repetition. Vladimir Martynov’s Philosophy, Metaphysics, and Methodology / Logos. 2016. № 4 (113). P. 119-149
annotation:  The article examines the philosophical, historical, and theoretical views of the Russian composer Vladimir Martynov in the context of musical minimalism, a style closely associated with the composer’s working methods. In particular, the article focuses on the category of time, which in minimalist music undergoes drastic transformation resulting in a totally new array of procedural instructions and approaches to musical structure. The author aims to demonstrate how philosophical, theoretical, technical and social aspects of minimalism correspond with Martynov’s own concept of the “end of the time of composers,” and how they inform, illustrate and, in some respects, contradict it. The first part of the article deals with Martynov’s historical philosophy of music, which describes the development of musical forms and practices through a series of dispositions referring to musical structure and the role of an author in its creation. It discusses the three basic forms of music according to Martynov: “ritual music,” “composers’ music” and liturgical chant; defines the sources of this conception; and compares Martynov’s interpretations with the original content of the sources. The second part of the article outlines the history of American minimalist music; examines its origins; conceptualizes its seminal problem, namely, the representation in music of “non-teleological” time; and considers related methodological, social, and ideological effects of such representation. In the third part of the article, the author draws a correlation between Martynov’s music and the methodology of minimalism, and attempts to define how the composer’s digression from the agenda underlying minimalism influences both his music and his philosophy.
Keywords:  Vladimir Martynov; minimalism; time; temporality; repetition; the end of the time of composers; determinism; referentiality; teleology; meaning of music
Translator’s Note / Logos. 2016. № 3 (112). P. 2-5
annotation: 
Keywords: 
Dissolving in Everyday Life / Logos. 2015. № 2 (104). P. 232-237
annotation: 
Keywords: 

Rondarev Artem

Lecturer, School of Cultural Studies, Faculty of Humanities, National Research University Higher School of Economics (HSE). Address: 21/4 Staraya Basmannaya str., 105066 Moscow, Russia. E-mail: arondarev@gmail.com.

Publications

A Different Philosophy of Music / Logos. 2016. № 4 (113). P. 1-6
annotation: 
Keywords: 
Fear of Repetition. Vladimir Martynov’s Philosophy, Metaphysics, and Methodology / Logos. 2016. № 4 (113). P. 119-149
annotation:  The article examines the philosophical, historical, and theoretical views of the Russian composer Vladimir Martynov in the context of musical minimalism, a style closely associated with the composer’s working methods. In particular, the article focuses on the category of time, which in minimalist music undergoes drastic transformation resulting in a totally new array of procedural instructions and approaches to musical structure. The author aims to demonstrate how philosophical, theoretical, technical and social aspects of minimalism correspond with Martynov’s own concept of the “end of the time of composers,” and how they inform, illustrate and, in some respects, contradict it. The first part of the article deals with Martynov’s historical philosophy of music, which describes the development of musical forms and practices through a series of dispositions referring to musical structure and the role of an author in its creation. It discusses the three basic forms of music according to Martynov: “ritual music,” “composers’ music” and liturgical chant; defines the sources of this conception; and compares Martynov’s interpretations with the original content of the sources. The second part of the article outlines the history of American minimalist music; examines its origins; conceptualizes its seminal problem, namely, the representation in music of “non-teleological” time; and considers related methodological, social, and ideological effects of such representation. In the third part of the article, the author draws a correlation between Martynov’s music and the methodology of minimalism, and attempts to define how the composer’s digression from the agenda underlying minimalism influences both his music and his philosophy.
Keywords:  Vladimir Martynov; minimalism; time; temporality; repetition; the end of the time of composers; determinism; referentiality; teleology; meaning of music
Translator’s Note / Logos. 2016. № 3 (112). P. 2-5
annotation: 
Keywords: 
Dissolving in Everyday Life / Logos. 2015. № 2 (104). P. 232-237
annotation: 
Keywords: 

Rondarev Artem

Lecturer, School of Cultural Studies, Faculty of Humanities, National Research University Higher School of Economics (HSE). Address: 21/4 Staraya Basmannaya str., 105066 Moscow, Russia. E-mail: arondarev@gmail.com.

Publications

A Different Philosophy of Music / Logos. 2016. № 4 (113). P. 1-6
annotation: 
Keywords: 
Fear of Repetition. Vladimir Martynov’s Philosophy, Metaphysics, and Methodology / Logos. 2016. № 4 (113). P. 119-149
annotation:  The article examines the philosophical, historical, and theoretical views of the Russian composer Vladimir Martynov in the context of musical minimalism, a style closely associated with the composer’s working methods. In particular, the article focuses on the category of time, which in minimalist music undergoes drastic transformation resulting in a totally new array of procedural instructions and approaches to musical structure. The author aims to demonstrate how philosophical, theoretical, technical and social aspects of minimalism correspond with Martynov’s own concept of the “end of the time of composers,” and how they inform, illustrate and, in some respects, contradict it. The first part of the article deals with Martynov’s historical philosophy of music, which describes the development of musical forms and practices through a series of dispositions referring to musical structure and the role of an author in its creation. It discusses the three basic forms of music according to Martynov: “ritual music,” “composers’ music” and liturgical chant; defines the sources of this conception; and compares Martynov’s interpretations with the original content of the sources. The second part of the article outlines the history of American minimalist music; examines its origins; conceptualizes its seminal problem, namely, the representation in music of “non-teleological” time; and considers related methodological, social, and ideological effects of such representation. In the third part of the article, the author draws a correlation between Martynov’s music and the methodology of minimalism, and attempts to define how the composer’s digression from the agenda underlying minimalism influences both his music and his philosophy.
Keywords:  Vladimir Martynov; minimalism; time; temporality; repetition; the end of the time of composers; determinism; referentiality; teleology; meaning of music
Translator’s Note / Logos. 2016. № 3 (112). P. 2-5
annotation: 
Keywords: 
Dissolving in Everyday Life / Logos. 2015. № 2 (104). P. 232-237
annotation: 
Keywords: 

Rondarev Artem

Lecturer, School of Cultural Studies, Faculty of Humanities, National Research University Higher School of Economics (HSE). Address: 21/4 Staraya Basmannaya str., 105066 Moscow, Russia. E-mail: arondarev@gmail.com.

Publications

A Different Philosophy of Music / Logos. 2016. № 4 (113). P. 1-6
annotation: 
Keywords: 
Fear of Repetition. Vladimir Martynov’s Philosophy, Metaphysics, and Methodology / Logos. 2016. № 4 (113). P. 119-149
annotation:  The article examines the philosophical, historical, and theoretical views of the Russian composer Vladimir Martynov in the context of musical minimalism, a style closely associated with the composer’s working methods. In particular, the article focuses on the category of time, which in minimalist music undergoes drastic transformation resulting in a totally new array of procedural instructions and approaches to musical structure. The author aims to demonstrate how philosophical, theoretical, technical and social aspects of minimalism correspond with Martynov’s own concept of the “end of the time of composers,” and how they inform, illustrate and, in some respects, contradict it. The first part of the article deals with Martynov’s historical philosophy of music, which describes the development of musical forms and practices through a series of dispositions referring to musical structure and the role of an author in its creation. It discusses the three basic forms of music according to Martynov: “ritual music,” “composers’ music” and liturgical chant; defines the sources of this conception; and compares Martynov’s interpretations with the original content of the sources. The second part of the article outlines the history of American minimalist music; examines its origins; conceptualizes its seminal problem, namely, the representation in music of “non-teleological” time; and considers related methodological, social, and ideological effects of such representation. In the third part of the article, the author draws a correlation between Martynov’s music and the methodology of minimalism, and attempts to define how the composer’s digression from the agenda underlying minimalism influences both his music and his philosophy.
Keywords:  Vladimir Martynov; minimalism; time; temporality; repetition; the end of the time of composers; determinism; referentiality; teleology; meaning of music
Translator’s Note / Logos. 2016. № 3 (112). P. 2-5
annotation: 
Keywords: 
Dissolving in Everyday Life / Logos. 2015. № 2 (104). P. 232-237
annotation: 
Keywords: 

Rondarev Artem

Lecturer, School of Cultural Studies, Faculty of Humanities, National Research University Higher School of Economics (HSE). Address: 21/4 Staraya Basmannaya str., 105066 Moscow, Russia. E-mail: arondarev@gmail.com.

Publications

A Different Philosophy of Music / Logos. 2016. № 4 (113). P. 1-6
annotation: 
Keywords: 
Fear of Repetition. Vladimir Martynov’s Philosophy, Metaphysics, and Methodology / Logos. 2016. № 4 (113). P. 119-149
annotation:  The article examines the philosophical, historical, and theoretical views of the Russian composer Vladimir Martynov in the context of musical minimalism, a style closely associated with the composer’s working methods. In particular, the article focuses on the category of time, which in minimalist music undergoes drastic transformation resulting in a totally new array of procedural instructions and approaches to musical structure. The author aims to demonstrate how philosophical, theoretical, technical and social aspects of minimalism correspond with Martynov’s own concept of the “end of the time of composers,” and how they inform, illustrate and, in some respects, contradict it. The first part of the article deals with Martynov’s historical philosophy of music, which describes the development of musical forms and practices through a series of dispositions referring to musical structure and the role of an author in its creation. It discusses the three basic forms of music according to Martynov: “ritual music,” “composers’ music” and liturgical chant; defines the sources of this conception; and compares Martynov’s interpretations with the original content of the sources. The second part of the article outlines the history of American minimalist music; examines its origins; conceptualizes its seminal problem, namely, the representation in music of “non-teleological” time; and considers related methodological, social, and ideological effects of such representation. In the third part of the article, the author draws a correlation between Martynov’s music and the methodology of minimalism, and attempts to define how the composer’s digression from the agenda underlying minimalism influences both his music and his philosophy.
Keywords:  Vladimir Martynov; minimalism; time; temporality; repetition; the end of the time of composers; determinism; referentiality; teleology; meaning of music
Translator’s Note / Logos. 2016. № 3 (112). P. 2-5
annotation: 
Keywords: 
Dissolving in Everyday Life / Logos. 2015. № 2 (104). P. 232-237
annotation: 
Keywords: 

Rondarev Artem

Lecturer, School of Cultural Studies, Faculty of Humanities, National Research University Higher School of Economics (HSE). Address: 21/4 Staraya Basmannaya str., 105066 Moscow, Russia. E-mail: arondarev@gmail.com.

Publications

A Different Philosophy of Music / Logos. 2016. № 4 (113). P. 1-6
annotation: 
Keywords: 
Fear of Repetition. Vladimir Martynov’s Philosophy, Metaphysics, and Methodology / Logos. 2016. № 4 (113). P. 119-149
annotation:  The article examines the philosophical, historical, and theoretical views of the Russian composer Vladimir Martynov in the context of musical minimalism, a style closely associated with the composer’s working methods. In particular, the article focuses on the category of time, which in minimalist music undergoes drastic transformation resulting in a totally new array of procedural instructions and approaches to musical structure. The author aims to demonstrate how philosophical, theoretical, technical and social aspects of minimalism correspond with Martynov’s own concept of the “end of the time of composers,” and how they inform, illustrate and, in some respects, contradict it. The first part of the article deals with Martynov’s historical philosophy of music, which describes the development of musical forms and practices through a series of dispositions referring to musical structure and the role of an author in its creation. It discusses the three basic forms of music according to Martynov: “ritual music,” “composers’ music” and liturgical chant; defines the sources of this conception; and compares Martynov’s interpretations with the original content of the sources. The second part of the article outlines the history of American minimalist music; examines its origins; conceptualizes its seminal problem, namely, the representation in music of “non-teleological” time; and considers related methodological, social, and ideological effects of such representation. In the third part of the article, the author draws a correlation between Martynov’s music and the methodology of minimalism, and attempts to define how the composer’s digression from the agenda underlying minimalism influences both his music and his philosophy.
Keywords:  Vladimir Martynov; minimalism; time; temporality; repetition; the end of the time of composers; determinism; referentiality; teleology; meaning of music
Translator’s Note / Logos. 2016. № 3 (112). P. 2-5
annotation: 
Keywords: 
Dissolving in Everyday Life / Logos. 2015. № 2 (104). P. 232-237
annotation: 
Keywords: 

Rondarev Artem

Lecturer, School of Cultural Studies, Faculty of Humanities, National Research University Higher School of Economics (HSE). Address: 21/4 Staraya Basmannaya str., 105066 Moscow, Russia. E-mail: arondarev@gmail.com.

Publications

A Different Philosophy of Music / Logos. 2016. № 4 (113). P. 1-6
annotation: 
Keywords: 
Fear of Repetition. Vladimir Martynov’s Philosophy, Metaphysics, and Methodology / Logos. 2016. № 4 (113). P. 119-149
annotation:  The article examines the philosophical, historical, and theoretical views of the Russian composer Vladimir Martynov in the context of musical minimalism, a style closely associated with the composer’s working methods. In particular, the article focuses on the category of time, which in minimalist music undergoes drastic transformation resulting in a totally new array of procedural instructions and approaches to musical structure. The author aims to demonstrate how philosophical, theoretical, technical and social aspects of minimalism correspond with Martynov’s own concept of the “end of the time of composers,” and how they inform, illustrate and, in some respects, contradict it. The first part of the article deals with Martynov’s historical philosophy of music, which describes the development of musical forms and practices through a series of dispositions referring to musical structure and the role of an author in its creation. It discusses the three basic forms of music according to Martynov: “ritual music,” “composers’ music” and liturgical chant; defines the sources of this conception; and compares Martynov’s interpretations with the original content of the sources. The second part of the article outlines the history of American minimalist music; examines its origins; conceptualizes its seminal problem, namely, the representation in music of “non-teleological” time; and considers related methodological, social, and ideological effects of such representation. In the third part of the article, the author draws a correlation between Martynov’s music and the methodology of minimalism, and attempts to define how the composer’s digression from the agenda underlying minimalism influences both his music and his philosophy.
Keywords:  Vladimir Martynov; minimalism; time; temporality; repetition; the end of the time of composers; determinism; referentiality; teleology; meaning of music
Translator’s Note / Logos. 2016. № 3 (112). P. 2-5
annotation: 
Keywords: 
Dissolving in Everyday Life / Logos. 2015. № 2 (104). P. 232-237
annotation: 
Keywords: 

Rondarev Artem

Lecturer, School of Cultural Studies, Faculty of Humanities, National Research University Higher School of Economics (HSE). Address: 21/4 Staraya Basmannaya str., 105066 Moscow, Russia. E-mail: arondarev@gmail.com.

Publications

A Different Philosophy of Music / Logos. 2016. № 4 (113). P. 1-6
annotation: 
Keywords: 
Fear of Repetition. Vladimir Martynov’s Philosophy, Metaphysics, and Methodology / Logos. 2016. № 4 (113). P. 119-149
annotation:  The article examines the philosophical, historical, and theoretical views of the Russian composer Vladimir Martynov in the context of musical minimalism, a style closely associated with the composer’s working methods. In particular, the article focuses on the category of time, which in minimalist music undergoes drastic transformation resulting in a totally new array of procedural instructions and approaches to musical structure. The author aims to demonstrate how philosophical, theoretical, technical and social aspects of minimalism correspond with Martynov’s own concept of the “end of the time of composers,” and how they inform, illustrate and, in some respects, contradict it. The first part of the article deals with Martynov’s historical philosophy of music, which describes the development of musical forms and practices through a series of dispositions referring to musical structure and the role of an author in its creation. It discusses the three basic forms of music according to Martynov: “ritual music,” “composers’ music” and liturgical chant; defines the sources of this conception; and compares Martynov’s interpretations with the original content of the sources. The second part of the article outlines the history of American minimalist music; examines its origins; conceptualizes its seminal problem, namely, the representation in music of “non-teleological” time; and considers related methodological, social, and ideological effects of such representation. In the third part of the article, the author draws a correlation between Martynov’s music and the methodology of minimalism, and attempts to define how the composer’s digression from the agenda underlying minimalism influences both his music and his philosophy.
Keywords:  Vladimir Martynov; minimalism; time; temporality; repetition; the end of the time of composers; determinism; referentiality; teleology; meaning of music
Translator’s Note / Logos. 2016. № 3 (112). P. 2-5
annotation: 
Keywords: 
Dissolving in Everyday Life / Logos. 2015. № 2 (104). P. 232-237
annotation: 
Keywords: 

Rondarev Artem

Lecturer, School of Cultural Studies, Faculty of Humanities, National Research University Higher School of Economics (HSE). Address: 21/4 Staraya Basmannaya str., 105066 Moscow, Russia. E-mail: arondarev@gmail.com.

Publications

A Different Philosophy of Music / Logos. 2016. № 4 (113). P. 1-6
annotation: 
Keywords: 
Fear of Repetition. Vladimir Martynov’s Philosophy, Metaphysics, and Methodology / Logos. 2016. № 4 (113). P. 119-149
annotation:  The article examines the philosophical, historical, and theoretical views of the Russian composer Vladimir Martynov in the context of musical minimalism, a style closely associated with the composer’s working methods. In particular, the article focuses on the category of time, which in minimalist music undergoes drastic transformation resulting in a totally new array of procedural instructions and approaches to musical structure. The author aims to demonstrate how philosophical, theoretical, technical and social aspects of minimalism correspond with Martynov’s own concept of the “end of the time of composers,” and how they inform, illustrate and, in some respects, contradict it. The first part of the article deals with Martynov’s historical philosophy of music, which describes the development of musical forms and practices through a series of dispositions referring to musical structure and the role of an author in its creation. It discusses the three basic forms of music according to Martynov: “ritual music,” “composers’ music” and liturgical chant; defines the sources of this conception; and compares Martynov’s interpretations with the original content of the sources. The second part of the article outlines the history of American minimalist music; examines its origins; conceptualizes its seminal problem, namely, the representation in music of “non-teleological” time; and considers related methodological, social, and ideological effects of such representation. In the third part of the article, the author draws a correlation between Martynov’s music and the methodology of minimalism, and attempts to define how the composer’s digression from the agenda underlying minimalism influences both his music and his philosophy.
Keywords:  Vladimir Martynov; minimalism; time; temporality; repetition; the end of the time of composers; determinism; referentiality; teleology; meaning of music
Translator’s Note / Logos. 2016. № 3 (112). P. 2-5
annotation: 
Keywords: 
Dissolving in Everyday Life / Logos. 2015. № 2 (104). P. 232-237
annotation: 
Keywords: 

Rondarev Artem

Lecturer, School of Cultural Studies, Faculty of Humanities, National Research University Higher School of Economics (HSE). Address: 21/4 Staraya Basmannaya str., 105066 Moscow, Russia. E-mail: arondarev@gmail.com.

Publications

A Different Philosophy of Music / Logos. 2016. № 4 (113). P. 1-6
annotation: 
Keywords: 
Fear of Repetition. Vladimir Martynov’s Philosophy, Metaphysics, and Methodology / Logos. 2016. № 4 (113). P. 119-149
annotation:  The article examines the philosophical, historical, and theoretical views of the Russian composer Vladimir Martynov in the context of musical minimalism, a style closely associated with the composer’s working methods. In particular, the article focuses on the category of time, which in minimalist music undergoes drastic transformation resulting in a totally new array of procedural instructions and approaches to musical structure. The author aims to demonstrate how philosophical, theoretical, technical and social aspects of minimalism correspond with Martynov’s own concept of the “end of the time of composers,” and how they inform, illustrate and, in some respects, contradict it. The first part of the article deals with Martynov’s historical philosophy of music, which describes the development of musical forms and practices through a series of dispositions referring to musical structure and the role of an author in its creation. It discusses the three basic forms of music according to Martynov: “ritual music,” “composers’ music” and liturgical chant; defines the sources of this conception; and compares Martynov’s interpretations with the original content of the sources. The second part of the article outlines the history of American minimalist music; examines its origins; conceptualizes its seminal problem, namely, the representation in music of “non-teleological” time; and considers related methodological, social, and ideological effects of such representation. In the third part of the article, the author draws a correlation between Martynov’s music and the methodology of minimalism, and attempts to define how the composer’s digression from the agenda underlying minimalism influences both his music and his philosophy.
Keywords:  Vladimir Martynov; minimalism; time; temporality; repetition; the end of the time of composers; determinism; referentiality; teleology; meaning of music
Translator’s Note / Logos. 2016. № 3 (112). P. 2-5
annotation: 
Keywords: 
Dissolving in Everyday Life / Logos. 2015. № 2 (104). P. 232-237
annotation: 
Keywords: 

Rondarev Artem

Lecturer, School of Cultural Studies, Faculty of Humanities, National Research University Higher School of Economics (HSE). Address: 21/4 Staraya Basmannaya str., 105066 Moscow, Russia. E-mail: arondarev@gmail.com.

Publications

A Different Philosophy of Music / Logos. 2016. № 4 (113). P. 1-6
annotation: 
Keywords: 
Fear of Repetition. Vladimir Martynov’s Philosophy, Metaphysics, and Methodology / Logos. 2016. № 4 (113). P. 119-149
annotation:  The article examines the philosophical, historical, and theoretical views of the Russian composer Vladimir Martynov in the context of musical minimalism, a style closely associated with the composer’s working methods. In particular, the article focuses on the category of time, which in minimalist music undergoes drastic transformation resulting in a totally new array of procedural instructions and approaches to musical structure. The author aims to demonstrate how philosophical, theoretical, technical and social aspects of minimalism correspond with Martynov’s own concept of the “end of the time of composers,” and how they inform, illustrate and, in some respects, contradict it. The first part of the article deals with Martynov’s historical philosophy of music, which describes the development of musical forms and practices through a series of dispositions referring to musical structure and the role of an author in its creation. It discusses the three basic forms of music according to Martynov: “ritual music,” “composers’ music” and liturgical chant; defines the sources of this conception; and compares Martynov’s interpretations with the original content of the sources. The second part of the article outlines the history of American minimalist music; examines its origins; conceptualizes its seminal problem, namely, the representation in music of “non-teleological” time; and considers related methodological, social, and ideological effects of such representation. In the third part of the article, the author draws a correlation between Martynov’s music and the methodology of minimalism, and attempts to define how the composer’s digression from the agenda underlying minimalism influences both his music and his philosophy.
Keywords:  Vladimir Martynov; minimalism; time; temporality; repetition; the end of the time of composers; determinism; referentiality; teleology; meaning of music
Translator’s Note / Logos. 2016. № 3 (112). P. 2-5
annotation: 
Keywords: 
Dissolving in Everyday Life / Logos. 2015. № 2 (104). P. 232-237
annotation: 
Keywords: 

Rondarev Artem

Lecturer, School of Cultural Studies, Faculty of Humanities, National Research University Higher School of Economics (HSE). Address: 21/4 Staraya Basmannaya str., 105066 Moscow, Russia. E-mail: arondarev@gmail.com.

Publications

A Different Philosophy of Music / Logos. 2016. № 4 (113). P. 1-6
annotation: 
Keywords: 
Fear of Repetition. Vladimir Martynov’s Philosophy, Metaphysics, and Methodology / Logos. 2016. № 4 (113). P. 119-149
annotation:  The article examines the philosophical, historical, and theoretical views of the Russian composer Vladimir Martynov in the context of musical minimalism, a style closely associated with the composer’s working methods. In particular, the article focuses on the category of time, which in minimalist music undergoes drastic transformation resulting in a totally new array of procedural instructions and approaches to musical structure. The author aims to demonstrate how philosophical, theoretical, technical and social aspects of minimalism correspond with Martynov’s own concept of the “end of the time of composers,” and how they inform, illustrate and, in some respects, contradict it. The first part of the article deals with Martynov’s historical philosophy of music, which describes the development of musical forms and practices through a series of dispositions referring to musical structure and the role of an author in its creation. It discusses the three basic forms of music according to Martynov: “ritual music,” “composers’ music” and liturgical chant; defines the sources of this conception; and compares Martynov’s interpretations with the original content of the sources. The second part of the article outlines the history of American minimalist music; examines its origins; conceptualizes its seminal problem, namely, the representation in music of “non-teleological” time; and considers related methodological, social, and ideological effects of such representation. In the third part of the article, the author draws a correlation between Martynov’s music and the methodology of minimalism, and attempts to define how the composer’s digression from the agenda underlying minimalism influences both his music and his philosophy.
Keywords:  Vladimir Martynov; minimalism; time; temporality; repetition; the end of the time of composers; determinism; referentiality; teleology; meaning of music
Translator’s Note / Logos. 2016. № 3 (112). P. 2-5
annotation: 
Keywords: 
Dissolving in Everyday Life / Logos. 2015. № 2 (104). P. 232-237
annotation: 
Keywords: 

Rondarev Artem

Lecturer, School of Cultural Studies, Faculty of Humanities, National Research University Higher School of Economics (HSE). Address: 21/4 Staraya Basmannaya str., 105066 Moscow, Russia. E-mail: arondarev@gmail.com.

Publications

A Different Philosophy of Music / Logos. 2016. № 4 (113). P. 1-6
annotation: 
Keywords: 
Fear of Repetition. Vladimir Martynov’s Philosophy, Metaphysics, and Methodology / Logos. 2016. № 4 (113). P. 119-149
annotation:  The article examines the philosophical, historical, and theoretical views of the Russian composer Vladimir Martynov in the context of musical minimalism, a style closely associated with the composer’s working methods. In particular, the article focuses on the category of time, which in minimalist music undergoes drastic transformation resulting in a totally new array of procedural instructions and approaches to musical structure. The author aims to demonstrate how philosophical, theoretical, technical and social aspects of minimalism correspond with Martynov’s own concept of the “end of the time of composers,” and how they inform, illustrate and, in some respects, contradict it. The first part of the article deals with Martynov’s historical philosophy of music, which describes the development of musical forms and practices through a series of dispositions referring to musical structure and the role of an author in its creation. It discusses the three basic forms of music according to Martynov: “ritual music,” “composers’ music” and liturgical chant; defines the sources of this conception; and compares Martynov’s interpretations with the original content of the sources. The second part of the article outlines the history of American minimalist music; examines its origins; conceptualizes its seminal problem, namely, the representation in music of “non-teleological” time; and considers related methodological, social, and ideological effects of such representation. In the third part of the article, the author draws a correlation between Martynov’s music and the methodology of minimalism, and attempts to define how the composer’s digression from the agenda underlying minimalism influences both his music and his philosophy.
Keywords:  Vladimir Martynov; minimalism; time; temporality; repetition; the end of the time of composers; determinism; referentiality; teleology; meaning of music
Translator’s Note / Logos. 2016. № 3 (112). P. 2-5
annotation: 
Keywords: 
Dissolving in Everyday Life / Logos. 2015. № 2 (104). P. 232-237
annotation: 
Keywords: 

Rondarev Artem

Lecturer, School of Cultural Studies, Faculty of Humanities, National Research University Higher School of Economics (HSE). Address: 21/4 Staraya Basmannaya str., 105066 Moscow, Russia. E-mail: arondarev@gmail.com.

Publications

A Different Philosophy of Music / Logos. 2016. № 4 (113). P. 1-6
annotation: 
Keywords: 
Fear of Repetition. Vladimir Martynov’s Philosophy, Metaphysics, and Methodology / Logos. 2016. № 4 (113). P. 119-149
annotation:  The article examines the philosophical, historical, and theoretical views of the Russian composer Vladimir Martynov in the context of musical minimalism, a style closely associated with the composer’s working methods. In particular, the article focuses on the category of time, which in minimalist music undergoes drastic transformation resulting in a totally new array of procedural instructions and approaches to musical structure. The author aims to demonstrate how philosophical, theoretical, technical and social aspects of minimalism correspond with Martynov’s own concept of the “end of the time of composers,” and how they inform, illustrate and, in some respects, contradict it. The first part of the article deals with Martynov’s historical philosophy of music, which describes the development of musical forms and practices through a series of dispositions referring to musical structure and the role of an author in its creation. It discusses the three basic forms of music according to Martynov: “ritual music,” “composers’ music” and liturgical chant; defines the sources of this conception; and compares Martynov’s interpretations with the original content of the sources. The second part of the article outlines the history of American minimalist music; examines its origins; conceptualizes its seminal problem, namely, the representation in music of “non-teleological” time; and considers related methodological, social, and ideological effects of such representation. In the third part of the article, the author draws a correlation between Martynov’s music and the methodology of minimalism, and attempts to define how the composer’s digression from the agenda underlying minimalism influences both his music and his philosophy.
Keywords:  Vladimir Martynov; minimalism; time; temporality; repetition; the end of the time of composers; determinism; referentiality; teleology; meaning of music
Translator’s Note / Logos. 2016. № 3 (112). P. 2-5
annotation: 
Keywords: 
Dissolving in Everyday Life / Logos. 2015. № 2 (104). P. 232-237
annotation: 
Keywords: 

Rondarev Artem

Lecturer, School of Cultural Studies, Faculty of Humanities, National Research University Higher School of Economics (HSE). Address: 21/4 Staraya Basmannaya str., 105066 Moscow, Russia. E-mail: arondarev@gmail.com.

Publications

A Different Philosophy of Music / Logos. 2016. № 4 (113). P. 1-6
annotation: 
Keywords: 
Fear of Repetition. Vladimir Martynov’s Philosophy, Metaphysics, and Methodology / Logos. 2016. № 4 (113). P. 119-149
annotation:  The article examines the philosophical, historical, and theoretical views of the Russian composer Vladimir Martynov in the context of musical minimalism, a style closely associated with the composer’s working methods. In particular, the article focuses on the category of time, which in minimalist music undergoes drastic transformation resulting in a totally new array of procedural instructions and approaches to musical structure. The author aims to demonstrate how philosophical, theoretical, technical and social aspects of minimalism correspond with Martynov’s own concept of the “end of the time of composers,” and how they inform, illustrate and, in some respects, contradict it. The first part of the article deals with Martynov’s historical philosophy of music, which describes the development of musical forms and practices through a series of dispositions referring to musical structure and the role of an author in its creation. It discusses the three basic forms of music according to Martynov: “ritual music,” “composers’ music” and liturgical chant; defines the sources of this conception; and compares Martynov’s interpretations with the original content of the sources. The second part of the article outlines the history of American minimalist music; examines its origins; conceptualizes its seminal problem, namely, the representation in music of “non-teleological” time; and considers related methodological, social, and ideological effects of such representation. In the third part of the article, the author draws a correlation between Martynov’s music and the methodology of minimalism, and attempts to define how the composer’s digression from the agenda underlying minimalism influences both his music and his philosophy.
Keywords:  Vladimir Martynov; minimalism; time; temporality; repetition; the end of the time of composers; determinism; referentiality; teleology; meaning of music
Translator’s Note / Logos. 2016. № 3 (112). P. 2-5
annotation: 
Keywords: 
Dissolving in Everyday Life / Logos. 2015. № 2 (104). P. 232-237
annotation: 
Keywords: 

Rondarev Artem

Lecturer, School of Cultural Studies, Faculty of Humanities, National Research University Higher School of Economics (HSE). Address: 21/4 Staraya Basmannaya str., 105066 Moscow, Russia. E-mail: arondarev@gmail.com.

Publications

A Different Philosophy of Music / Logos. 2016. № 4 (113). P. 1-6
annotation: 
Keywords: 
Fear of Repetition. Vladimir Martynov’s Philosophy, Metaphysics, and Methodology / Logos. 2016. № 4 (113). P. 119-149
annotation:  The article examines the philosophical, historical, and theoretical views of the Russian composer Vladimir Martynov in the context of musical minimalism, a style closely associated with the composer’s working methods. In particular, the article focuses on the category of time, which in minimalist music undergoes drastic transformation resulting in a totally new array of procedural instructions and approaches to musical structure. The author aims to demonstrate how philosophical, theoretical, technical and social aspects of minimalism correspond with Martynov’s own concept of the “end of the time of composers,” and how they inform, illustrate and, in some respects, contradict it. The first part of the article deals with Martynov’s historical philosophy of music, which describes the development of musical forms and practices through a series of dispositions referring to musical structure and the role of an author in its creation. It discusses the three basic forms of music according to Martynov: “ritual music,” “composers’ music” and liturgical chant; defines the sources of this conception; and compares Martynov’s interpretations with the original content of the sources. The second part of the article outlines the history of American minimalist music; examines its origins; conceptualizes its seminal problem, namely, the representation in music of “non-teleological” time; and considers related methodological, social, and ideological effects of such representation. In the third part of the article, the author draws a correlation between Martynov’s music and the methodology of minimalism, and attempts to define how the composer’s digression from the agenda underlying minimalism influences both his music and his philosophy.
Keywords:  Vladimir Martynov; minimalism; time; temporality; repetition; the end of the time of composers; determinism; referentiality; teleology; meaning of music
Translator’s Note / Logos. 2016. № 3 (112). P. 2-5
annotation: 
Keywords: 
Dissolving in Everyday Life / Logos. 2015. № 2 (104). P. 232-237
annotation: 
Keywords: 

Rondarev Artem

Lecturer, School of Cultural Studies, Faculty of Humanities, National Research University Higher School of Economics (HSE). Address: 21/4 Staraya Basmannaya str., 105066 Moscow, Russia. E-mail: arondarev@gmail.com.

Publications

A Different Philosophy of Music / Logos. 2016. № 4 (113). P. 1-6
annotation: 
Keywords: 
Fear of Repetition. Vladimir Martynov’s Philosophy, Metaphysics, and Methodology / Logos. 2016. № 4 (113). P. 119-149
annotation:  The article examines the philosophical, historical, and theoretical views of the Russian composer Vladimir Martynov in the context of musical minimalism, a style closely associated with the composer’s working methods. In particular, the article focuses on the category of time, which in minimalist music undergoes drastic transformation resulting in a totally new array of procedural instructions and approaches to musical structure. The author aims to demonstrate how philosophical, theoretical, technical and social aspects of minimalism correspond with Martynov’s own concept of the “end of the time of composers,” and how they inform, illustrate and, in some respects, contradict it. The first part of the article deals with Martynov’s historical philosophy of music, which describes the development of musical forms and practices through a series of dispositions referring to musical structure and the role of an author in its creation. It discusses the three basic forms of music according to Martynov: “ritual music,” “composers’ music” and liturgical chant; defines the sources of this conception; and compares Martynov’s interpretations with the original content of the sources. The second part of the article outlines the history of American minimalist music; examines its origins; conceptualizes its seminal problem, namely, the representation in music of “non-teleological” time; and considers related methodological, social, and ideological effects of such representation. In the third part of the article, the author draws a correlation between Martynov’s music and the methodology of minimalism, and attempts to define how the composer’s digression from the agenda underlying minimalism influences both his music and his philosophy.
Keywords:  Vladimir Martynov; minimalism; time; temporality; repetition; the end of the time of composers; determinism; referentiality; teleology; meaning of music
Translator’s Note / Logos. 2016. № 3 (112). P. 2-5
annotation: 
Keywords: 
Dissolving in Everyday Life / Logos. 2015. № 2 (104). P. 232-237
annotation: 
Keywords: 

Rondarev Artem

Lecturer, School of Cultural Studies, Faculty of Humanities, National Research University Higher School of Economics (HSE). Address: 21/4 Staraya Basmannaya str., 105066 Moscow, Russia. E-mail: arondarev@gmail.com.

Publications

A Different Philosophy of Music / Logos. 2016. № 4 (113). P. 1-6
annotation: 
Keywords: 
Fear of Repetition. Vladimir Martynov’s Philosophy, Metaphysics, and Methodology / Logos. 2016. № 4 (113). P. 119-149
annotation:  The article examines the philosophical, historical, and theoretical views of the Russian composer Vladimir Martynov in the context of musical minimalism, a style closely associated with the composer’s working methods. In particular, the article focuses on the category of time, which in minimalist music undergoes drastic transformation resulting in a totally new array of procedural instructions and approaches to musical structure. The author aims to demonstrate how philosophical, theoretical, technical and social aspects of minimalism correspond with Martynov’s own concept of the “end of the time of composers,” and how they inform, illustrate and, in some respects, contradict it. The first part of the article deals with Martynov’s historical philosophy of music, which describes the development of musical forms and practices through a series of dispositions referring to musical structure and the role of an author in its creation. It discusses the three basic forms of music according to Martynov: “ritual music,” “composers’ music” and liturgical chant; defines the sources of this conception; and compares Martynov’s interpretations with the original content of the sources. The second part of the article outlines the history of American minimalist music; examines its origins; conceptualizes its seminal problem, namely, the representation in music of “non-teleological” time; and considers related methodological, social, and ideological effects of such representation. In the third part of the article, the author draws a correlation between Martynov’s music and the methodology of minimalism, and attempts to define how the composer’s digression from the agenda underlying minimalism influences both his music and his philosophy.
Keywords:  Vladimir Martynov; minimalism; time; temporality; repetition; the end of the time of composers; determinism; referentiality; teleology; meaning of music
Translator’s Note / Logos. 2016. № 3 (112). P. 2-5
annotation: 
Keywords: 
Dissolving in Everyday Life / Logos. 2015. № 2 (104). P. 232-237
annotation: 
Keywords: 
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