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European Journal of Arts 2 (2021) - PREMIER Section 2. Musical arts
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UDC 78:7.079(450) DOI: 10.29013/EJA-21-2-46-52
O. Yu. PONOMARENKO, 1
1 Tchaikovsky National Music Academy of Ukraine (Kyiv, Ukraine)
TEMPORARY SPACE OF MUSICAL VENICE (ON THE EXAMPLE OF FUNCTIONING OF THE INTERNATIONAL FESTIVAL OF CONTEMPORARY MUSIC OF THE VENICE BIENNIAL)
Abstract
The purpose of the article: is to analyze the features of music festivals in modern Italy and the specifics of their organization, using the example of the "International Festival of Contemporary Music of the Venice Biennial".
The research methodology: is based on the use of the inductive method, which, to characterize the festival process in the cultural life of Italy, involves the study of individual festival projects and provides for the use of the following methods — historical-analytical, empirical and sociocultural. The historical-analytical method contributed to the understanding of the logic of the formation and development of the festival, the appeal to empirical and sociocultural methods made it possible to consider the features of the organization of the festival in the context of social relations in the system of musical life in modern Italy.
The results of the research: the success and further development of the festival requires proper organization at all levels, cooperation of many state institutions, original proposals, constant technological and organizational renewal, expansion of cultural, creative, financial ties — all that will reveal the beauty of historical and artistic monuments, as well as preserve the International Festival of Contemporary Music as part of the Biennial for future generations as an Italian cultural brand.
The scientific novelty: lies in the fact that in contemporary musicology, for the first time, Italian music festivals are considered as an organic, artistic and economic, component of the national culture, their traditional and innovative features are noted, as well as the prospects for the further development of the festival movement in Italy.
The practical application: this problem is relevant both from a scientific and from a practical point of view. The materials ofthe article can be used in courses in the history of music, the infrastructure ofmusical life, the basics of music management. The results of the study will provide an opportunity for contemporary musicians to learn the specifics of organizing music festivals in modern Italy, to adopt and use their experience in the musical life of other countries.
Keywords: music festival, "International Festival of Contemporary Music of the Venice Biennial", musical life of modern Italy.
For citation : Ponomarenko O. Yu. Temporary Space of Musical Venice (On The Example of Functioning of the International Festival of Contemporary Music of the Venice Biennial) // European Journal of Arts, 2021, №2. -C. 46-52. DOI: https://doi.org/10.29013/EJA-21-2-46-52
In the cultural life of modern Italy, the music festival remains the undisputed leader. Festivals, in which world-class performers take part, increasingly attract the attention of critics, art historians, they are interested in both innovations and connections with traditions, the activities of financial structures that program and implement these projects, as well as international ties.
One of the brightest musical projects in Italy, the Venice International Festival ofContemporary Music, was first held in September 1930 as part of the Biennial of Arts, which was founded in 1895 and is considered one of the most famous and prestigious cultural events in the world. It unites six sections-spheres: art (1895), music (1930), cinema (1932), theater (1934), architecture (1980), dance (1999), which embody exhibition, performing, re-
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search and educational activities. In recent years, Biennial has been promoting new events related to educational and scientific activities, namely the college, scientific conferences and creative conventions, held in the Justinian Palace, built in 1471 on the Grand Canal in the San Marco.
The first four projects took place every two years, since 1936 the festival became annual, although there were breaks in 1939, 1940, 1943-1945. At the first event of the Venice Music Festival, only chamber and symphonic music sounded, performed by the Milan orchestra EIAR - Ente Italiano per le Audizioni Radiofoniche (Italian Radio) and the Roman theater orchestra Augus-teo under the direction of Bernardino Molinari.
Unlike other festivals, the Venetian festivals were fully funded from public funds and therefore depended on the patronage of the head of government, thanks to this there was a constant internal conflict between two directions - the conservative, represented by its president Adriano Lualdi, a government representative, and the modernist, represented by famous modern composers Alfredo Casella, Mario Labroca and Gian Francesco Malipiero (this is respectively the vice-president, general secretary and member of the organizing committee of the festival). However, despite all the internal crises, the Venice festival had a wide international resonance and presented Italian premieres ofworks by composers of the first rank: Zoltan Kodaya, Igor Stravinsky, Darius Mil-haud, Alban Berg, Arnold Schoenberg, Paul Hindemith, Manuel de Falla, Bela Bartok [4, 59].
The success of a modern project and its further development also depends primarily on the cooperation of influential government institutions, namely: the Ministry of Culture (MIC), the Veneto region and the municipality of the city ofVenice. In January 1998, the Biennial, as an autonomous organization, was transformed into the Society of Culture: Legislative Decree of January 29, 1998, No. 19 declares that the Institution has been transformed from a state body into a legal entity in accordance with private law and takes the name "Society of Culture" [3, p. 99-100]. In April 1998, the Ministry of Culture appoints the first President of the Biennial. It was the politician Paolo Baratta. Currently, the President of the Biennial is filmmaker and producer Roberto Cicutto.
As a result of the Legislative Decree of January 8, 2004, on the basis of the reform decree of December 23, 2003, according to which the "Society of Culture" was transformed into the Foundation for the 17 th Venice Biennial [8].
Over the years, the directors of the festival have been famous Italian musicians: Adriano Lualdi, Alfredo Casel-la, Mario Corti, Mario Labroca, Ferdinando Ballo, Nino Sanzogno, Ferrante Mecenati, Alessio Piovesan, Pino Di Valmarana, Alessando Piovesan, Ferrante Mecenari, Virgilio Mario Messinis, Carlo Fontana, Sylvano Bussotti Paolo Portoghesi, Mario Messinis, Bruno Canino, Uri Caine, Giorgio Battistelli, Luca Francesconi, Ivan Fedele, Lucia Ronchetti.
He "line of unity" for Venice was a temporary space that united various types of arts: firstly, it is the beautiful architecture of the city, according to the Italian writer and diplomat Carlo Dossi: "Venice's architecture gives emotions to music", it is no coincidence that it is a festival appeared here at the beginning of the twentieth century, secondly, contemporary Italian and foreign music is the priority of the Venice Festival for the 64th season. Eternal cycle of things, more ancient truth than the poor idea of progress" - these words we find in the wonderful book "Images of Italy" by Pavel Muratov, and they are dedicated to Venice, a city that is still celebrating something, is still making noise, smiles and lazily spends his leisure time on the St Mark's Square, on the Piazzetta and on the promenade of Schiavona" [5, 12].
The unity of the temporal layers, characteristic of the musical Venice, constantly finds its continuation in various events of the festival for more than one year. For example, in 2020, 18 events of the 64th International Festival of Contemporary Music united the idea that was embodied in the name "Incontri" ("Meetings"). Within the framework of the project, two time poles met: the world of musical practices of the great composers of the recent past in a creative dialogue with the innovations of their contemporaries. The Golden Lion in 2020 was awarded to the leader of the modern Spanish school, composer Luis de Pablo (born in 1930), who continues in his work the traditions of the Second Vienna School, and the Silver Lion to Raphaël Cendo (born in 1975), founder of his own aesthetic movement "saturationism", which revolutionized the means of writing music. His concept of "saturated music", where absolute control over notes in the classical sense is absent, the border of pure sound and timbre, frequency space is pushed apart, fills the musical fabric with a new sound of spectral music, it is this modern approach to writing music that finds a deep response among young musicians, and his works are performed by renowned soloists and orchestras from all over the world.
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On September 25, on the stage of Teatro alle Tese, two premieres took place: the world premiere - Concerto for viola and the Italian one - Fantasies for guitar and orchestra by Luis de Pablo. Soloists: violist Garth Knox, former member of the French chamber orchestra founded by Pierre Boulez (Ensemble Intercontemporain) and the Arditti Quartet string quartet, guitarist Thierry Mercier. Conductor Marco Angius (Orchestra of Padova and Veneto), one of the most recognized interpreters of contemporary music.
The premiere work "Delocation" by Raphael Cendo was created in 2017. It can reasonably be attributed to the metamodernism direction, where the key element, as the authors of the theory of metamodernism note, is "the principle of oscillation, that is", fluctuations "between the postmodern, modernist and, possibly, romantic types of perception" [6, 161]. It should be noted that this is primarily manifested in the text complex, which consists of a mosaic of texts by poets and philosophers of the late XX-XXI centuries: Claude Royet-Journoud, Georges Didi-Huberman, Rainer Maria Rilke, Georges Bataille. The premiere was performed by the French quartet Tana and Neue Vocalsolisten from Stuttgart, which specialize in contemporary vocal music.
Within the framework ofthe festival, a sector dedicated to one instrument has been operating for several seasons. This year, its protagonist, the piano, is a romantic instrument in its essence, but for contemporary music composers it is also the subject of numerous experiments, creative searches and reincarnations. 2020 marked the 250 th anniversary of the birth of Beethoven. In the jubilee year, pianists Leonardo Colafelice, William Greco, Pasquale Iannone presented three concerts, the program of which was dominated by Beethoven's music, as a kind of impulse that owes all modern musical thought, as well as works by avant-garde composers of the late twentieth century Karlheinz Stockhausen, Pierre Boulez, Franco Donatoni.
The theater sector also presented opera on the verge of time poles. On September 27, on the stage of Goldoni Theater, a production of Giorgio Battistelli opera "Cen-ci" took place. The first performance of the work at the London theater studio Almeida in 11 July 1997 was in English, then the French and German versions came out. The Italian version, more than 20 years after its debut, in the fall of 2019, was seen by the public on the stage of the LuganoInScena theater.
The dark story of Beatrice Cenci never ceases to excite writers and artists. She also interested in Giorgio
Battistelli - the author of the music and libretto, which is based on the version of the tragedy of the French playwright Antonin Artaud, written in 1935. Artaud staged an adaptation of the tragedy of the English romantic poet Percy Shelley "Cenci", inspired by the real story of the Italian family Cenci. The action takes place in papal Rome at the end of the 16th century and tells the story of the terrible Count Cenci and his assassination. The count was accused of sodomy and was imprisoned three times. Not believing in God, many times he was forced to turn to the Pope with requests for forgiveness of sins. He hated his children, raped his daughter Biatrice. Finally, two of Cenci's servants killed him by driving nails into his throat and eye. Beatrice participated in the murder of her father, and when it turned out, she was captured and, after terrible torture, executed.
An interesting story balancing between melologue and opera, musical theater and pantomime, in which the voices of the actors are combined with the sounds of an instrumental ensemble and electronics, video sequences and noise effects, immersing the viewer in a real "musical theater". It should be noted that innovative sound effects, namely Martenot waves, are used for the first time on the stage. The musical theater presented by Carmelo Rifici is impressive, and the most important thing here is the soundtrack by Fabrizio Rosso, which creates a diffuse zone where live electronics (Alberto Barberis, Nadir Wassen) dissolve into the orchestral part performed by Ensemble 900 from Conservatory of Italian Switzerland in the city of Lugano (flute by Eva Martinez Saavedra; clarinet by Roberto Serra Santos, Marta Sánchez González; bass clarinet by Jonas Morkunas; trumpet by Matteo Villa; trombone by Francesco Parini; tuba by Federico Moscarola; percussion by Paolo Fratello, Tommaso Tola; synthesizer by Federico Melis; double bass by Claudia Baca, Michele Santi; accompanist pianist by Lorenzo Grossi).
As Battistelli notes, it is the music that defines the drama, where the main characters are vocals and pantomime, presented through the prism of the creative version of the performers: actor Roberto Latini and actress Anahi Traversi, mezzo-soprano Elena Rivoltini, Martha Chappina and the clown and pantomime Michele Rezzonico create "sounds like characters that move next to the bodies of actors" [7]. Giorgio Battistelli completely abandons the singing voice in order to reunite with the concept of Artaud's theater - "theater of cruelty" as "the language of sounds, shouts, onomatopoeia" According to Battistelli, all vocal emissions, from whispering to decla-
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mation, from speech to screaming, from guttural sounds and noises to laughter and tears, participate together with very flexible instrumental parts, which have become oscillograms of emotions, in this musical theater, which every operatic refuses, vocals. Symphonic scenes, with the help of the orchestra and human speech, create an intrusive and disturbing atmosphere, forcing the dark strings of the soul to resonate in each of them: "The scene is the space of the word, spoken roughly in the harsh voice of Roberto Latina of the father of Beatrice Cenci, in the clear voice of Elena Rivoltini, performing the part of Beatrice, in the voice of Anaya Traversi, filled with terror for her stepmother Lucrezia, and the immature voice of Michele Rezzonico of the inept lover Orrson. The stage is, first of all, a theater of sounds - unforgiving, very tense and often "material" in essence of Battistelli's theatrical writing - sounds that reflect words" [9].
The Biennale College, created in 2014, is actively continuing its work, primarily for the development ofcreative contact between masters and young musicians. The result of work over seven years - 19 different genre chamber works, performed in the framework of the Biennale. The interest in chamber opera, which was announced during the first projects ofthe festival, is still relevant today. Beginning in 1932, a fashionable in Europe genre of chamber opera, as a rule, without a chorus, with a limited number ofperformers, with an orchestra, did not exceed 25 instruments, appeared in the festival programs. In 2017, three breve operas were presented. The production of three operas by an international team of young composers, librettists, stage designers, vocalists "Orpheus moments", "Apnea", "La stessa barca" consists ofvarious stages: training courses, which have been running since March, and the implementation of this project. Three micro-budget chamber operas no more than 20 minutes long written for an ensemble of eight instruments (flute, clarinet, trumpet or trombone, violin, viola, cello, percussion instruments, MIDI keyboards) and four voices (soprano, mezzo-soprano, tenor, baritone, bass). They were presented at the 61st International Festival ofContemporary Music and shown online on the Biennale website in live performance from September 18 to October 6, 2017.
In 2020, Ivan Fedele, director of the festival (20122019), proposed the creation of multimedia compositions using electronics and video thanks to the CIMM, the Center for Music Multimedia Informatics of the Venice Biennale, opened last year. Four teams of composers, sound engineers, video designer under the age of 35 were
selected from all participants in the competition, which was announced in February 2020. Among the young musicians who prepared four original multimedia pieces in ten minutes were Matteo Gualandi and Silvio Petronzio (Rome), they worked on "[Nameless_remote_memory] for cello, electronics and video". Luca Guidarini (Rovi-go) in tandem with Andrea Omodei (Cremona) created Digital Mouth Morphology for soprano, electronics, real-time video and a feedback system. Matteo Toma-setti (Cattolica) together with Filippo Gualazzi (Urbi-no) presented the audiovisual performance "Perpetuo", and Francesco Pellegrino (Foggia) paired with Roberto Cassano (Trani) to write "Habitat" for tenor saxophone, electronics and live video.
Teams implemented their projects through training and production in three sessions, from April to July, with virtual master classes via an internet platform. The workshops, coordinated by the director of the music sector Ivan Fedele, were conducted by a team of specialists who also attended rehearsals and shows as mentors for selected young artists: composition - Matteo Franceschini, music information technology - Simone Conforti and Maurilio Cacciatore, video design - Andrew Quinn, sound engineering and sound design - Thierry Coduys. The electronic part was held at the Venice headquarters of CIMM - the Center for Music and Multimedia Informatics of the Venice Biennale, he provided the necessary equipment and software. The works debuted on the stage of the 64th International Festival of Contemporary Music on October 4 at Teatro Piccolo Arsenale.
Since 1928, the Biennale Library has been an integral part of the project. It is located in the Central Pavilion of the Giardini, in which, after the 2010 restoration, a large reading room was opened, surrounded by a two-level gallery with more than 800 linear meters of shelving. The library pays special attention to the storage of documentation, in-depth study of the Foundation's activities, the preservation of all catalogs of the Biennale and the collection of bibliographic materials, press clippings about art events, outstanding letters and autographs for the festival sections - architecture, fine arts, cinema, dance, photography, music, theater. Of interest are photographic materials. Photographers who have worked on the project for years transfer negatives of reproductions of works of art, as well as of the documentary life of the Biennale. Thanks to this, a photo library was created.
The library's legacy comes from the ASAC book collection The Historical Archive of Contemporary Art,
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created on November 8, 1928: "a place where memories and documents of the past come from and where, but it is also a place for our future archives" (Paolo Baratta). ASAC was the first archive and the first library to specialize in contemporary art throughout Italy and possibly the world. As eyewitnesses recall, he was born out of necessity, or perhaps by accident, during the activity of one of the organizers of the exhibition, the general secretary, sculptor, journalist, art critic Antonio Maraini: "On the morning of November 8 [1928] at 11 am in the hall on the first on the floor of the Doge's Palace, in a strict and luxuriously furnished room, which is an illustrative center, the new Historical Institute of Contemporary Art, a branch and continuation of the Venice Biennale, has opened. It will collect documentary and critical materials from past exhibitions, as well as materials from future ones - hand-selected to create a center for research, news and the dissemination of contemporary art, almost all of which have passed through our biennials." [3, 61].
Over the years, the directors of the archive have been: Domenico Varaniolo (1928-1949), Umbro Apollonio (1950-1972), Vdadimir Dorigo (1973-1983), Luigi Scarpa (1986-1987), Gabriella Cecchini (1993-1998) GianfTanco Pontel (1998-2002) and Giuliano da Em-poli (2002-2004), Giovanni Busetto (2004).
Each of them constantly modernized the process, introducing new forms of work with the archive funds. For example, Vladimir Dorigo contributed to the creation of a special method for the restoration and conservation of materials, actively established contacts with large national and foreign publishing houses and libraries, collected books and catalogs, established creative ties between artists, musicians and filmmakers to obtain documentation and photographic materials. Gabriella Cecchini began the process of computerized cataloging of the library (books and periodicals) and the creation of a media library (CD).
Giorgio Busetto structured the fund's materials by disciplines, sections and subsections. Disciplines: A -fine, applied, industrial, design, photography; C - cinema; D - documentation; I - mass information (press, publishing, radio, television, advertising, etc.); M -music, dance; T - theater, animation; U - architecture, restoration, urban planning. Sections: A - materials of congresses, conferences, events, courses; C - directories; D - dictionaries, encyclopedias; F - disciplinary frameworks, guidelines, criticism and scientific literature in general or related to specific topics that cannot be in-
cluded in monographs; I - institutions and structures (including legislation, school, etc.); M - monographs (essays, biographies, repertoires, catalogs, works, scores, scripts, etc.); R - repertoires (bibliographies, files, address books and other general directories not related to the biographical aspect and meaning of the catalogs); S - history (eras, movements, works and various characters); T - technology (technology, materials,); U - research work (articles).
Currently there are seven divisions, which are part of the archive: Library, Collection of periodicals, Library of photographs, Library of films, Media library, Historical archive, Collection of documents and Art fund. The book heritage of the Biennale Library as of November 2020 is 153,000 volumes and 3,000 periodicals. Of these, 101,164 are cataloged according to the standards set by the National Library Service (SBN), which is subordinate to the Central Institute for a Unified Catalog (ICCU) in Rome, and 22,780 of them are kept exclusively in the Library of the Biennale.
In the new headquarters of the Biennale Library in the Giardini Pavilion, since June 2009, the Vision Machine exhibitions have been held entirely through the use of Asac's archival collections: letters, catalog prefaces, posters, photographs, films, audio tapes. This hall also hosts conferences and seminars. Scientific activity is carried out thanks to the organization of international conferences "Archives and Exhibitions" since 2012, at which archival practice is regarded as a constant theme of the Biennale, the modern vector of relations between archives and the exhibition is especially important.
Conclusions. Thus, the success and further development of the festival requires proper organization at all levels, cooperation of many state institutions, original proposals, constant technological and organizational renewal. Expansion of cultural, creative, financial ties will reveal to the world the beauty of historical and artistic monuments, as well as preserve the International Festival of Contemporary Music within the framework of the Biennale for future generations as a cultural brand ofVenice, a city that "consists of memories and antiquity, new events and modern history - they are all the same for Venice" [2, 5].
Veni etiam - come back again, according to legend, from this Latin phrase, Venice was named - the crossroads of the Universe. This is not just a phrase that creates the category of "lexical plurality", it is an aesthetic category of beauty, in its entire spectrum conveys the
Section 2. Musical arts - PRE_M|ER European Journal of Arts 2 (2021) - ISSN 2310-5666 -
artistic diversity of images of the city, where "sea and and hell, lion and crocodile, Saint Mark and Casanova, land, land on the sea, straight lines and bends, heaven sun and fog, movement and eternity" [1, 27].
References
1. Binet L. The seventh function of language.- St. Petersburg: Ivan Limbakh Publishing House, 2019.- 536 c.
2. De Blazy M. A Thousand Days in Venice. An unexpected romance. St. Petersburg: - Midgard, 2010.- 320 c.
3. Di Martino E. La Biennale di Venezia 1895-2003. - Venezia: G. Mondadori, 1995.- 189 p.
4. Lebed M. Alfredo Casella and New Music in Italy. Extended abstract of candidate's thesis.- Moscow, 2012.- 298 p.
5. Muratov P. Images of Italy / edited by L. M. Suris. Moscow-Berlin: Direct-Media, 2015.- 934 c.
6. ASAC dati. XVII Esposizione Biennale Internazionale d'Arte. Available at: URL:<http://asac.labiennale.org/it/ passpres/artivisive/annali.php?a=1930> (Accessed:11.03.2021).
7. Biennale Musica 2020 - La Biennale di Venezia, [online]. Available at: URL:<https://www.labiennale.org> (Accessed: 11.03.2021).
8. Decreto Legistativo 24 dicembre 2003.- No. 373. Norme di attuazione dello Statuto speciale della Regione siciliana concernenti l'esercizio nella regione delle funzioni spettanti al Consiglio di Stato. Available at: URL:<https://www.gazzettaufficiale.it/eli/id/2004/01/14/004G0009/sg>/ (Accessed:11.03.2021).
9. La crudelta in musica di Battistelli Al LAC di Lugano va in scena una riuscita nuova versione de I Cenci, per la prima volta in lingua italiana. Available at: URL:<https://www.giornaledellamusica.it/recensioni/la-crudelta-musica-di-battistelli> (Accessed:11.03.2021).
10. Le Muse Inquiete. When La Biennale di Venezia Meets History Central Pavilion, Giardini della Biennale 29.088.12.2020. URL:<https://static.labiennale.org/files/labiennale/Documenti/the-disquieted-muses.pdf> (Ac-cessed:11.03.2021).
Information about the authors
Olena Yuriyivna Ponomarenko, PhD (Candidate ofArt Criticism), Associate Professor, Associate Professor at the Department of World Music History at the Tchaikovsky National Music Academy of Ukraine, Kyiv, Ukraine Address: 01133, Ukraine, Kyiv city, Lesya Ukrainka Boulevard, 24/295 E-mail: [email protected]; Tel.: +38-067-621-14-57 ORCID: https://orcid.org/0000-0002-3726-489X
ПОНОМАРЕНКО О. Ю., 1
1 Нащональна музична академiя Украши iMeHi П. I. Чайковського (Kuïe, Украша)
ЧАСОВИЙ ПРОСТ1Р МУЗИЧНО1 ВЕНЕЦП (НА ПРИКЛАД1 ФУНКЦ1ОНУВАННЯ М1ЖНАРОДНОГО ФЕСТИВАЛЮ СУЧАСНОТ МУЗИКИ ВЕНЕЦ1ЙСЬКОТ Б18НАЛЕ)
Анотацт.
Мета cmammi: проаналiзувати особливоси музичних фестивалiв в сучаснш 1талп, специфжу ïx оргашза-ц11 та проведения, на прикладi «М1жнародного фестивалю сучасно!' музики Венецшсько! бieнале» (Festival Internazionale di Musica Contemporanea della Biennale di Venezia).
Методологiя до^дження: базуеться на застосуванш шдуктивного методу, який для характеристики фестивального процесу в культурному житп 1тали передбачае досмдження окремих фестивальних проекпв i передбачае використання наступних методiв — шторико-аналиичного, емтричного i сощокультурного. 1сто-
ПОНОМАРЕНКО О. Ю. ЧАСОВИЙ ПРОСТ1Р МУЗИЧНОТ ВЕНЕЦП (НА ПРИКЛАД1ФУНКЦ1ОНУВАННЯ М1ЖНАРОДНОГО ФЕСТИВАЛЮ СУЧАСНОТ МУЗИКИ ВЕНЕЦ1ЙСЬКО1 Б1€НАЛЕ)
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рико-анал1тичний метод сприяв осмисленню лопки формування i розвитку фестивалю, звернення до емтрич-ного i соцiокультурного методiв дало можливiсть розглянути особливоси органiзацГi фестивалю в контекст соцiальних вГдносин в системi музичного життя сучасно! 1талп.
Результати до^дження: устх i подальший розвиток фестивалю вимагае належно! оргашзацп на вс1х рГвнях, спiвпрацi багатьох державних шститупв, оригiнальних пропозицГй, постГйного технологiчного та оргашзацшного оновлення, розширення культурних, творчих, фiнансовиx зв'язкГв — всього того, що дозволить розкрити перед свГтом красу Гсторичних i мистецьких памяток, а також зберегти М1жнародний фестиваль сучасно! музики в рамках Бiенале для наступних поколГнь як ¡талГйський культурний бренд.
Наукова новизна: полягае в тому, що у сучасному музикознавствГ вперше музичнГ фестивалГ 1талГ! роз-глянуто як оргашчну, художню та економГчну, складову нацюнально! культури, вГдзначено !ХнГ традицГйнГ та шновацшш особливостГ, а також перспективи подальшого розвитку фестивального руху в 1талГ!.
Практичне застосування: дана проблема актуальна як з науково!, так i з практично! точки зору. МатерГали статтГ можуть бути використаш в курсах ¡сгори музики, шфраструктури музичного життя, основ музичного менеджменту. Результати дослГдження допоможуть сучасним музикантам дГзнатися про особливостГ оргашзацп музичних фестивал1в в сучаснГй 1тал1!, перейняти та використовувати !x досвГд в музичному життГ Гнших кра!н.
Ключовi слова: музичний фестиваль, «М1жнародний фестиваль сучасно! музики Венецшсько! б1енале», музичне життя сучасно! 1тал1!.
Список лиератури
1. Б1не Л. Сьома функц1я мови. - Санкт-Петербург: Видавництво 1вана ЛГмбаха, 2019. - 536 с.
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1нформац1я про авгор1в
Олена Юривна Пономаренко, кандидат мистецтвознавства, доцент, доцент кафедри ГсторГ! св1тово! музики Нацюнально! музично! академГ! Укра!ни ¡меш П. I. Чайковського, Ки!в, Укра!на Адреса: 01133, Укра!на, м1сто Ки!в, бульвар Лес1 Укра!нки 24, кв. 295 E-mail: [email protected]; Tel.: +38-067-621-14-57 ORCID: https://orcid.org/0000-0002-3726-489X
ПОНОМАРЕНКО О. Ю. ЧАСОВИЙ ПРОСТ1РМУЗИЧНОТВЕНЕЦ11 (НА ПРИКЛАД1ФУНКЦ1ОНУВАННЯ М1ЖНАРОДНОГОФЕСТИВАЛЮ СУЧАСНОГМУЗИКИ ВЕНЕЦ1ЙСЬКО1' Б1€НАЛЕ) 52
