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MALINOVY ZVON. Muzyka A. Morozova, Slova A. Poperechny.
Crimson ringing. Malin ringing is a soft timbre ringing of bells, sometimes also bells, spurs. There are several versions of the origin of this term. Basic: the phrase "malin ringing" has nothing to do with the corresponding berry and color. It comes from the name of the city of Mechelen,now located in the Flemish region of Belgium,which in French is called Malines (Malin), where in the Middle Ages they developed a successful alloy for casting bells. Since the appearance of such bells in Russia in the XVIII century, "crimson" began to be called a beautiful, melodious shimmering ringing (the combination "malin ringing" has a meaning: "very pleasant, soft in timbre ringing"). In other versions[1] appear linguistic (crimson-red-beautiful, beautiful) origin (V. N. Sergeev), and"color hearing"- synesthesia. A. S. Yareshko singles out the following genre-canonical typification of Orthodox bell ringing: chimes; trezvon; wired ringing and its typological variants; everyday and festive bells; red, counter, whole day, wedding and crimson bells. A special sound of ringing is achieved by the imposition of acoustic components of different zones of the bell when the bell tongue is struck.
WHAT COLOR IS "CRIMSON RINGING"?. B.M.Galeev. In the Spasskaya Tower of the Kazan Kremlin for 20 years there is a raspberry bell installation created in the student design bureau "Prometheus". In the capital, her work could be found on the layout presented at the Exhibition of Economic Achievements of the USSR and at the exhibition of scientific and technical creativity of youth during the XII World Festival of Youth and Students. Although the principles of the "Crimson Ringing" are very simple in technical terms, the experiment caused lively discussions. The authors of the project proceeded from the fact that since in Russian language there has long been an understandable metaphor "crimson ringing", why not implement it with the help of modern electronics? A microphone was attached to the bell, a signal from it was fed to the input of a powerful amplifier, and two dozen spotlights with crimson filters were connected to the amplifier. The hand of the tower clock comes to the next division, the bell strikes, and the belfry is illuminated by synchronous spoofs of light. So the ringing actually became crimson...And why not green, not yellow? Who says light has to be crimson? In general, maybe this expression is just an alogism, a play on words like "fried water"? Let's turn to the dictionary of the Russian language by S.I. Ozhegov. It says: "Crimson ringing-a pleasant, soft timbre ringing (about the ringing of bells, about the ringing of bells, spurs)" What are the "calls", what are the "bells"?-opponents say and dump on the table a heap of newspaper reports about the Belgian city of Malin (or, in another transcription, Mechelen), famous for its masters of bell making. These articles set out legends about how the wonderful bells that struck the Russians, it was by the name of the city called "crimson". According to one version, Peter I visited it, to whom we owe the appearance of this expression in the Russian language, on the other-in the Patriotic War of 1812 in a victorious procession through Europe, Russian troops did not bypass the small Belgian town. In defense of the domestic origin of the "crimson ringing" was made by the linguist V.N. Sergeev, who saw in the genesis of this metaphor a trivial associative chain crimson - red - beautiful, beautiful . However, there is another version. It proceeds from the fact that the accidental name corresponded to some deep laws of metaphorical thinking and that is why it was fixed in the language and is used to this day. After all, there are bell towers, for example, in Riga, but no one thought to call the ringing of Riga bells a consonant epithet "red". The latest version brings to mind the so-called "color hearing" and synesthesia, a special case of which it is. Color coloring of the timbres of sounds is the most common form of "color hearing" (this was confirmed by a survey of many musicians, artists and writers). The word "timbre" in many languages literally means "coloring of sound" (e.g., German: Klangfarbe). Just as often, musicians give color characteristics to tonality. In the Soviet Encyclopedic Dictionary, synesthesia (from the Greek ?) is defined as the feeling. This is how physiologists and psychiatrists tried to explain the "color hearing" at first, believing, for example, that A.N. Skryabin really saw the red color when he heard music in the key of C major (N.A. Rimsky-Korsakov presents it, by the way, in yellow). It was assumed that such composers-synesthetics by chance confused and closed the nervous "wires" going to the brain from the organs of vision and hearing. And the noted scattering in the color of the same tonality fit well into this concept-how can these "wires" get mixed up...The literal decoding of synesthesia as a sense is wrong. But how did it get into the dictionaries? The fact is that the concept of "sensation" has long been constantly mixed in many languages of the world with the concept of feeling. They say "feeling of joy" and "senses", although "feeling of joy" and "organs of sensations" are correct. And these examples are by no means from the category of trivial reservations of non-strict everyday speech. If we turn to the root basis of the word "synesthesia", then "aioqhoiz", it turns out, in different contexts also means "sensation", then "feeling". In Plutarch, for example, the concept of "synesthesia" is used to refer to "sympathy" already in moral and ethical terms. Recall, finally, that this root lies in the basis of the well-known term "aesthetics" (we will not now, based on a possible incorrect etymological decoding, consider aesthetics a science of sensations). The reason for this confusion of the concepts of "sensation" and "feeling", as it turns out, is not at all easy and still represents a "tough nut" for the theory of sensory cognition and epistemology. Be that as it may, on the basis of this confusion, a number of inconclusive and indistinct explanations of "color hearing" arose: physiological (entanglement of nerves), pathological (mental illness), mystical (miraculous ability of the psyche, not amenable to knowledge). They hardly do honor to materialistic science. But it is enough to turn to modern medical, psychological and even aesthetic reference books to see how such interpretations are often used to explain synesthetic metaphors in the poems of Rimbaud and Blok, the paintings of Čiurlionis and Kandinsky, Scriabin's "light symphony", etc. Very popular assumptions that synesthesia is a special "sixth sense" or even some universal "general feeling" do not stand up to criticism. , which arose in the course of the evolution of human feelings. However, what scientists have been so wise about, each of us understands and without any appeals to mysticism and mechanistic analogies with the "short circuit". When it comes to "crimson ringing", "velvet timbre", "bright sound", "light major" and "dim minor"-it is clear that the confusion of sight and hearing has nothing to do with it. A hundred years ago, V.G. Korolenko in the story "The Blind Musician" gave the right answer to the question that continues to worry modern researchers. Artistic flair led him to understand that the very expressions "color of sound", "color hearing" are a typical metaphor and there is no reason for their literal reading as a real "feeling". Rather, it is "co-sympathy", "co-representation", based on an associative mechanism. At the heart of "color hearing" is, according to Korolenko, "simple comparison" (or, in the language of psychology, "association by similarity"). only?-The learned husband will be ammathed. But let's ask ourselves: on what grounds can be compared incommensurable, it would seem, sound and color, vision and hearing? After all, even K. Marx noted: "The eye perceives the object differently than the ear, and the object of the eye is different from the object of the ear". The answer to this question is given, in fact, in another work of the classics of Marxism, devoted to a completely different problem. Analyzing the functions of money, K. Marx and F. Engels showed that in any science, and not only in political economy, it is necessary to reach the level of comparison that allows us to understand how this seemingly inexplicable "equating of the heterogeneous" or, according to Shakespeare, "fraternization of impossibilities" occurs. And it is striking: as an example of this level of comparison, they themselves cite nothing more than...synesthetic in content comparison of the voice of a beautiful singer and the tail of a comet! Korolenko intuitively managed to understand how this "fraternation of impossibilities" is carried out in the sensory sphere-just on the example of "crimson ringing". His characters do not immediately find the answer to their question. At first, they painfully search for the nuances of the differences between "red" and "crimson" ringing. Maxim, the uncle of a blind musician: "What is a red ringing, you can know no worse than me: you heard it more than once in the cities, on big holidays." The blind man picks up this sound on the piano: "A chord of several low tones was as if a deeper background, and on it stood out, jumping and oscillating, higher notes, more mobile and bright. In general, it was exactly that high and excited-joyful hum that fills the festive air." "Yes, it's very similar," says Maxim and continues: "There is also a "crimson" ringing, as well as a crimson color. Both are very close to red, but only deeper, smoother and softer. When the bell has been in use for a long time, it is, as amateurs say, invoked. In his sound disappear irregularities, cutting the ear, and then this ringing is called crimson" . Doesn't this explanation coincide with the brief definition of "crimson ringing" from Ozhegov's dictionary? Korolenko, however, does not stop at stating his artistic impressions. He forces his Maxim to make a theoretical generalization: "I think that in general at a certain depth of soul impressions of colors and sounds are postponed as homogeneous. We say: he sees everything in pink. This means that a person is attuned joyfully. The same mood can be caused by a known combination of sounds. In general, sounds and colors are symbols of the same mental movements". So, at the heart of the "color hearing" is a comparison of emotional impact or, in scientific terms, a systemic intersensory association. Synesthesia is one of the forms of interaction of the senses in the holistic system of human experiences, and in this definition lies the explanation of all the features of the "color hearing". The sensual reflection of the world, as you know, is not a dispassionate mechanical mirror. It is thoroughly imbued with human subjectivity. After all, sensation, as V.I. Lenin noted, is a "subjective image of the objective world". Moreover, each act of sensation is accompanied by an emotional reaction of the subject. Do the emotional assessments of the same object coincide in different people? Completely-no (they are subjective), but there is a common in them, due to the unity of living conditions, upbringing, etc. So, for example, it is not for nothing that a joyful mood is called "major", and sad-"minor". And it is not surprising, therefore, that both Scriabin and Rimsky-Korsakov music in the key of C major (and it is among the majors the most "joyful") "saw" albeit in different, but "joyful" colors (red, yellow). And who among us could call this key black, brown, purple?...Discrepancies in color evaluation, of course, can exist - to the extent that each person's emotional perceptions of timbre or tonality differ. Therefore, it should not be surprising that the ringing of bells can suddenly become not "red" and not "crimson". In the section of the book "Master of Magic Ringing", written by A.I. Tsvetaeva, about the amazing musician N.K. Saradzhev, the performer of "symphonies" on the bells, we read: "Blagovest. Spreads thick dark fog-slowly fades into the distance. Next to the second. The dark horizon collapses-invisibly crumbles with slow dumps, and along its edges, illuminated, light voices of filial, minor, smaller. In the vague distance, in the ongoing fog of hum, the glow embraces the third blow of the gospel. And already woke up in response all the bell gold, blue-flared up, crumbled-pouring streams, and on them, intertwining and lit up in the sky, blue wings of swallows-long clicks of merging flight". Why is it that such a seemingly obvious explanation has only now become noticed again by synesthesia researchers? For an answer, let us turn again to Korolenko. Let us recall his words that comparison, comparison occurs "at a certain depth of soul." In fact, a mental act, a logical operation (and the comparison is) may not necessarily occur in the light of consciousness. Moreover, if earlier it was directly believed that thinking does not exist outside of language (speech, words), now the possibility of non-verbal, non-verbal forms of thinking is generally recognized. So, today they single out and intensively study "visual thinking", "musical thinking". The human psyche is holistic, so the extraverbal comparison operation can also occur by comparing heterogeneous sensory impressions-visual and auditory, for example. And since most often this act is carried out on a subconscious level, the nature of synesthesia looks mysterious and unknowable. For us, it is now obvious that synesthesia and, specifically, "color hearing" is one of the specific manifestations of non-verbal thinking inherent in all people (recall the general intelnissibility of numerous synesthetic turns in the ordinary and even more so in poetic language, where these intersensual comparisons are already fixed verbally). "Brilliant sound of the trumpet", "screaming colors", "tart color", "warm colors"-these synesthesia surprise with their external contradiction to rational thinking, the laws of language, forcing them to break spears in discussions around such simple, understandable expressions as "crimson ringing". But even F. Engels in the "Dialectic of Nature" convincingly showed that the completeness and reliability of sensory cognition is rooted in the cooperation of the senses, including intersensory associations formed with the participation of thinking. In this regard, he noted, a person does not feel the need to have "instead of five special senses" one "general feeling" or have the ability to see or hear smells. Alas, the ways of scientific research sometimes also turn out to be inscrutable...Of course, not all manifestations of "color hearing" are as elementary as "crimson ringing". The mediator of synesthetic likeness can be not only the simplest, archaic, but also more complex emotions with the participation of semantic assessments, for example, "smart" aesthetic emotions of art, as psychologist L.S. Vygotsky called them. And if the artist expresses, say, a sense of hopelessness, then the bell synesthesia can fade, working for this purpose, as in L.N. Andreev: "A deaf bell was monochromatic, and its gray, sad, modestly calling sounds could not break the winter silence"..."Everywhere stretched to the church colorless, like a bell ringing, silent figures". Being a product of a certain culture, such artistic and evaluative descriptions sometimes act as a symbol. Nevertheless, we understand the synesthetic lines of E. Poe, when in the poem "Ringing" he writes about the "clear, crystal, silver bells" of childhood, the "bright, hot, golden" ringing of the wedding ceremony, about the alarm of trouble filled with "black horror", about the "bitter hum" of the funeral ringing...And sometimes you can only spread your hands, taking-without any attempts at explanation-poetic synesthesia as a kind of given, revealed in this and only in this historical and artistic context. An example from the synesthetic description of the bells kind to us in O.E. Mandelstam: "And on the lips, like black ice, burns / Stygian memory of the ringing. A bright synesthetic image is a miracle, like any work of art. Our goal in the design of the Kazan Kremlin was-to pay tribute to Russian culture, the Russian word, realizing in the figurative system of another art-architecture, in the belfry of the ancient tower a small miracle of the great language-the synesthetic metaphor "crimson ringing".
Poperechny Anatoly Grigorievich was born on November 22, 1934 in the village of New Odessa (now-the city of New Odessa) of the Nikolaev region of Ukraine. Father - Grigory Demyanovich, agronomist. Mother-Alexandra Mikhailovna, paramedic. Wife-Transverse Svetlana Ivanovna. Son-Sergey (born in 1958).
Crimson ringing. Crimson ringing - soft in timbre, the ringing of bells, sometimes also bells, spurs. There are several versions of the origin of this term. Main: the phrase "raspberry ringing" has nothing to do with the corresponding berry and color. It comes from the name of the city of Mechelen , now located in the Flemish region of Belgium , which in French is called Malines (Maline), where a successful alloy for casting bells was developed in the Middle Ages. Since the appearance of such bells in Russia in the 18th century, beautiful, melodically iridescent ringing began to be called "raspberry" (the combination "raspberry ring" means: "a very pleasant ringing, soft in timbre ").
crimson ringing. Lyrics of Song "Raspberry Ring" When you hear a melody that captivates the soul and some kind of warm and gentle text of the song “Raspberry Ringing”, your heart is filled with sincere love for your native land and father's house. A beautiful and sincere composition by Alexander Morozov to the verses of Anatoly Poperechny was created in 1987. And since then they have not lost people's love and recognition so wonderful. Lyrics of the song "Raspberry Ring". Through half-dream and sleep I hear a raspberry ringing, These are the messengers of dawn, Bells are ringing in the grasses. It is among the Russian plains
Clusters of rowan flared up, It is in the native wilderness Something touched the soul. Chorus: Crimson ringing at dawn, Tell my dear land, That I've been in love with it since childhood, As in this crimson ringing. Crimson ringing at dawn, Tell my dear land, That I've been in love with it since childhood, As in this crimson ringing. This crimson ringing From maternal icons, From that high star, Yes, from the past misfortune. The dusty path will glow, Where we wandered in the fields, Where at dawn, as if through a dream, Crimson ringing is heard. Chorus: Crimson ringing at dawn, Tell my dear land, That I've been in love with it since childhood, As in this crimson ringing. Crimson ringing at dawn, Tell my dear land, That I've been in love with it since childhood, As in this crimson ringing.
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