The contemporary stage, a transition period in many aspects, witnesses crises in all forms of human activity, including spheres of culture and art. true values are often substituted with fake ones, spiritual intentions are out of fashion, and depths of thought and feeling are presented as odd attributes. Today the notion “to create” is replaced with “to produce”.
Meanwhile creativity is being the unicity of result, personal, individual coloring of art works. This is what makes its unique value! However today impersonal, commonplace, obviously primitive and even ugly music works are produced in tremendous quantity, in which the category of “ugliness” becomes a norm both in form and content. In other words, at present the humanity has come to global vacuum of values. In such circumstances a positive call from all spheres of human spiritual activity becomes particularly vital. Otherwise humanity is destined to stagnate in emotional and psychological oppression.
Every artist nowadays faces a special calling to fill, to infuse, to “infect” space of life with high quality of spirituality: inspiration, joy and harmonious world outlook resonating as its dominant tones. Indeed, since the old times works of art have been a source of esthetic pleasure as well as high ideals implementation. Let us recall that the word “music” originates from the Greek “Musa”, that is moving spirit and patroness of sciences and arts, the sacred source of creative inspiration. Therefore, music is a resound phenomenon portraying the world and soul.
During the last centuries music used to be a spiritual language of material world. However, the XX-th century, brutal, strained and militant, launched a completely foreign mechanism in music art development. Eternal, as they would seem, and unshakable functions of music as regulated (therefore, apprehensive and harmonized) art came to gradual deformation and destruction. Musical space became more and more infused with tensed, sharp, vague and, after, ugly, anti-esthetical sound images, diving deeper into artistic crises. As a result, the academic music is losing its listeners.
During the last decades one can emphasize at least three destructive composition tendencies in academic music art. First of them is striving for the past without any modern flavor or innovative characters. Created within this flow, music becomes a weak echo of the past, unable to move and touch the heart of a contemporary listener.
The second tendency is characterized by complicacy of musical language, excessive usage of various composing techniques which transformed composing music into constructing it. Such opuses are often devoid of clear images and ideas, and interest only a narrow circle of musicians involved into sound experimentation creativity.
Communicativeness of art — that is its capacity to interact, to inform, to deliver, to speak – is eliminated in this case. And what about a listener who comes into a concert hall longing for the joy of interaction with art? Is he or she also eliminated?
The third negative tendency in contemporary composition is connected with extreme simplification of musical language which in its turn leads not only to depreciation of music as High Art, but also to distortion and atrophy of such motions as “to create”, “to originate”. Moreover, such approach to composing music discredits a profession of a composer and opens the gates wide towards involution of musical art in general. In vision of many professional musicians the situation in contemporary music described above is growing dangerous. Modern composers’ community face a challenge of rethinking and changing this situation.
The problem being actively discussed by numerous musicians is serious. Time for its solution has come! It is clear that many talented composers create worthy, appealing music sought-for by the listeners. However the acuteness of problem is increased by extreme predominance of compositions within the three above mentioned tendencies over truly valuable works!
The birth of Inspirism as individual style of contemporary music, in our vision, is not accidental as its esthetic principles may contribute to the change of modern situation and become one of the ways towards renaissance of genuine mission of music. In our creative laboratory Inspirism has become a special insight, an enlightenment, an intuitive breakthrough towards understanding all of our investigations and accumulations that have been developed for many years.
The notion “Inspirism” contains numerous overtones and tints which, one way or another, are harmoniously united. One can recall cognate and semantically accordant words “spirit” (soul, mood), “to inspirit” (to inspire, to animate), “inspiring” (invigorating, incentive, spirit-turning), and finally “to enspirit” (to animate, to enliven). Therefore the esthetic message of our style is a transmission of positive attitude towards the world associated with inspiration, animation, enthusiasm, love for life and striving for the true Design of Creator experience. Let us remind that one of the meanings of the word “spirit” is true sense.
The dominant of our esthetics is a category of “LOVE” in a broadest sense, as embodiment of the most beautiful and eternal in the Universe. One of the main ideas of Inspirism, in our understanding, is true reflection of the category of “beautiful” in our creativity, which corresponds to the genuine purpose of all arts, including music.
originality of ideas, bright and appealing images, enlightened world perception, positivity, passion, expression, strong energy, zesty joy, freedom fascination, euphoria.
expressive, refined and graceful melody; clear, rich, colorful and radiant harmony infused with overtones; peculiar juxtaposition of chords and tonalities; sophisticated tremulous rhythm; transparent, airy, “levitating” texture; clear and laconic form.
In Inspirism all these musical language elements are transformed and combined in a unique way into completely new contemporary sound resonating with fine vibrations of space and nature. Therefore Inspirism becomes a new spiral turn of musical language evolution.
Authors of the article:
Vladimir Titov – pianist, composer, winner of International composition competitions.
Graduated from Samara Music College named after D.G.Shatalov with major in Piano Performance (class of Honored Cultural Worker of Russia G.Ryazanova) and from Nizhny-Novgorod State Conservatory named after M.Glinka with major in Piano Performance (class of Honored Cultural Worker of Russia, Professor E.Alexeyeva).
Svetlana Titova – musicologist, composer, winner of International composition competitions. Graduated from Samara Music College named after D.G.Shatalov with major in Music Theory, and from Samara State Academy of Culture and Arts (Conservatory) with major in Music Studies (class of Associate Professor, Doctor of Music N. Milovidova).