Translate this page:
Please select your language to translate the article


You can just close the window to don't translate
Library
Your profile

Back to contents

Culture and Art
Reference:

Art in design. The specifics of creating a visual image of a musical and artistic event

Demidova Malvina

PhD in Art History

Associate Professor, Department of Information Technology and Computer Design, St. Petersburg State Institute of Culture

191186, Russia, g. Sankt–peterburg, nab. Dvortsovaya, 2

malvina.demidova@gmail.com
Other publications by this author
 

 

DOI:

10.7256/2454-0625.2023.5.37762

EDN:

CDSVWP

Received:

30-03-2022


Published:

06-06-2023


Abstract: The object of the research of the article is an actual topic for a modern designer – the forms of representation of a sound/musical image by visual expressive means. The subject of the study are examples of information and accompanying materials developed for cultural events related to music. The projects of contemporary authors Duan Zhihua and Rocio Galarza (Rocío Galarza) are analyzed. The purpose of the work is to consider the specifics of creating a visual image of a musical/sound composition, as well as the design approach of conducting project work on creating a composition in which visual and sound contexts form a structural unity. The research method in this work consists in applying an analytical approach to the analysis of design projects dedicated to music, which is based on the synthesis of iconographic and semantic analysis of compositional solutions, and can be used in the design, research and educational activities of the designer. The scientific novelty of the research lies in the introduction of new empirical material into circulation, in which the creation of a project compositional form is considered as the creation of a communicative system based on the combination of expressive means encoding information about visual and sound content. The study showed that the musical image perceived, as a rule, through the performer, in creating its visual equivalent implies its interpretation by the designer. The analysis of the projects of modern designers posted on the web confirmed that in a visual image that carries information about a musical and artistic event, visual and sound contexts form a structural unity, becoming a unique subject for study, contributing to the development and improvement of design methods. In the works of modern designers Duan Zhihua and Rocio Galarza, there is a desire to develop compositions that differ in an easily readable semantic connection of artistic and expressive elements with a broad socio-cultural context.


Keywords:

design, music, multimedia, polygraphy, visual design, corporate identity, visual and sound image, music and art event, poster, booklet

This article is automatically translated.

Modern practice requires the designer to have skills in various ways of transmitting the content of the project, including the ability to work in modern software development environments with different types of visual and audio information. This article is devoted to the actual practical problems faced by a designer specializing in graphic design and multimedia.

A vivid visual image of a musical and artistic event should remain in the memory of the participants for a long time. For this reason, no less attention is paid to the development of information and advertising support for a festive concert or festival today than to the compilation of the repertoire, script, direction and rehearsal of each individual number. Designing and developing the corporate identity and graphic content of all information carriers of a cultural event is the creative task of the designer, which involves creating harmony between the precisely found artistic form and content, building a visual image to sound, finding a balance between attractiveness and practicality, functionality and ease of reading information.

The relevance of the research topic is due to a significant increase in the number of cultural events involving various types and forms of information presentation at the same time, as well as the unabated attention of design theorists and design practitioners to the study of the specifics of visual forms that carry information about the sound space and the content of musical and artistic projects. The consideration of complex issues of the implementation of aesthetic and artistic communication in design projects developed for musical and artistic events opens up the possibility of in-depth study of ideas about the specifics of interactions in the modern system of relations "communication design – art – society".

Creating a visual image of a musical and artistic event requires solving certain tasks. First, it is necessary to clarify what exactly the features and specifics of the visual image of this musical and artistic event are seen in. Secondly, it is necessary to analyze the content of the sound material of the musical and artistic event for which the composition of the design project is being created. Thirdly, using the example of the works of modern designers, it is necessary to consider possible mechanisms for creating a visual composition that carries information about the sound, the sound space of the project, which should contribute to a better understanding of the technique of "grammatical" research of the structural interaction of all compositional elements. The solution of these tasks should be facilitated by an analytical approach to the study of the material, which can be effectively used both in the design and educational activities of the designer.

In various fields of humanities, there are different methods of analyzing and studying the content of complex semantic systems. For example, the work of the Russian author D.R. Valeeva [3] contains an analysis of the most common methods of studying the idea of textual content, which are actively used in linguistics, namely: component analysis, the study of the internal form of a word, contextual analysis and other research methods. She notes: "The study of the conceptual structure of the text is of particular importance, since the works of art represent both the basic, nationwide conceptual picture of the world and the individual author's" [3]. M.V. Dronik reveals the meaningful aspect of abstract painting on the example of Russian artists of the early twentieth century using the iconological method of analysis in his work [8]. Graphic design in the context of modern visual culture and new technologies is considered in his work by R.Y. Ovchinnikova [17]. The study of the essence of the phenomenon of the artistic image in the musical art is devoted to the work of R.Z. Komurji [11]. S.S. Skrebkov reveals the specifics of creating a musical image by explaining the artistic principles of musical styles [19]. A. Andriyauskas analyzes the visualization of a musical image by expressive means of painting on the example of M.Churlenis' creativity [1]. The Russian artist, the theorist of the avant-garde movement of the beginning of the XX century V. Markov [14] and other famous avant-gardists of that time stop their attention on the musical texture [16, 21]. The works of M.V. Demidova [6], Se Heng Kim [10], L. Kun [13] and V. Martynov [15] are devoted to the interpretation of the musical text using visual means, as well as the fixation of its image and content through modern musical graphics. The importance of studying not only the history, but also the theory of musical writing is noted by S.E. Englin [20]. Researcher E.V. Hertzman [4] focuses on the fact that any musical notation is always accompanied by seemingly "little things", but at the same time, the "living breath" of the musical system very often "depends on them, contributing to a more detailed transmission of the sounding music" [4, p.68]. As a monolithic formation of verbal and nonverbal (paragraph-based) means, i.e. creolized text, F.L. proposes to consider the works of print advertising. Kositskaya [12]. The analysis described in the above works is important for identifying functional approaches to creating a visual image and style of information and accompanying materials for a musical and artistic event, as well as determining the mechanism for applying them in practice to develop a communication strategy with the viewer.

The musical image is perceived, as a rule, through the performer. It cannot be perceived as works of visual art of painting, graphics, photography or sculpture created directly by the sculptor or artist himself. When developing a visual image of a musical event, the designer acts as a kind of interpreter of sound material. In creating a visual image of a sound work, the designer uses a similar set of graphic means, as does the composer, who fixes the content of a musical work by means of graphic signs and images. Depending on his artistic, professional and life experience, the designer, on the one hand, deciphers the image of a sound or musical work, on the other hand, creates it again, each time developing a new mechanism for combining graphic images, often combining elements of different semiotic systems, such as letters and musical notation. If a musical image is an integral semantic system of intonations, then a visual image is a system of graphic signs, the emotional mood and content of which is also read by the viewer and depends on his experience and visual preparedness.

Modern multimedia technologies allow combining into a single composition not only elements of different semiotic systems, but also expressive means of different types of art. The way the possibilities of animation of graphic forms and lines change the perception of the boundaries of the compositional space, liberate the designer's thinking, expand the palette of professional expressive means, visually represent the educational projects of students of the Department of Information Technology and Computer Design of the St. Petersburg State Institute of Arts. As examples posted on the web, you can cite the projects of motion designers. O. Boldina's graduation project is dedicated to the creation of multimedia content for the exhibition "Avant-Garde in Dynamics". In particular, she presented a fragment of a multimedia exhibition dedicated to V. Kandinsky's painting "Various Incidents"" [2]. The diploma project created by V. Semina presents the "Multimedia exhibition "Kandinsky, Lentulov, Malevich"" [18]. The creation of visual and sound synthesis, the finding of interesting constructive solutions for combining elements and parts of a composite form was facilitated by the study of compositional principles of styles and directions in the educational process, not only of visual arts, but also of music. Musical or sound accompaniment, perceived together with a visual composition developing over time, contributes to the emotional "experience" of what is seen and, therefore, receives great importance in the information-figurative structure of a multimedia work.

At the same time, design students specializing in graphic design, in the process of creating and developing printed products for a musical and artistic event, in most cases prefer to rely on the familiar rules of the Swiss international style, in which the method of sheet organization, the method of subordination of elements and the creation of compositional contrast are determined by geometric simplicity and order.

At the same time, when developing both a dynamically developing and static composition, the designer can consciously start from a musical or sound image in order to solve problems related to the transmission of vivid sensations and experiences from closely related aspects of perception. Today, a purposeful analysis of musical material in the development of a project related to a musical theme should form the basis of the path to improving the emotional and analytical approach in the search for new compositional solutions.

Modern social media platforms and Internet services allow you to view a large number of works by modern designers created for musical and artistic events. Among such resources are the platforms B?hance and Pinterest, the website of the Awwwards professional web designers competition, as well as the Flickr photo hosting. The content of this study is an analysis of the projects of modern designers presented on these platforms and dedicated to the development of corporate identity and information support for various cultural events related to music. The works of such authors as Duan Zhihua [25] and Roc?o Galarza [22] were selected for analysis in order to show by their example innovation in the interpretation of forms when creating a free composition dedicated to a musical theme.

In 2016, a graphic designer from Shanghai Duan Zhihua presented a series of posters dedicated to the musical "Notre Dame de Paris" at the Moscow Festival of Graphic Design "Golden Bee". The visual images created by him resemble graphic notation (graphic notation or graphic score in English), representing music using symbols that go beyond the traditional musical notation (Fig. 1).

 

Fig. 1. A series of image posters on the theme of the musical "Notre Dame de Paris", 2016

Designer: Duan Zhihua (DuanZhihua)

 

Duan's work is a continuation of a new approach to creating a visual image of the sound space and graphic recording of musical text, which gained popularity in the 1950s, which since that time has been used by composers both in combination with traditional musical notation and instead of it. A striking example of such a photograph is the score of Fontana Mix, a musical composition created by John Cage (Fig. 2) [9, C. 57], in which there is a random collision of unexpected sounds. Along with the music itself, Cage created a musical notation using 10 sheets of paper and 12 transparencies, which, when applied, created a structure from which it was possible to compose a performance score.

  

Fig. 2. Score: Fontana Mix, 1958

Composer: John Cage

 

No less interesting are the scores of Roman Haubenstock-Ramati, for example, "Multiple 1", 1969 [23], or etchings by the same composer, such as "Konstellationen", 1971 (Fig.3) [24], which are able to evoke the feeling of hearing music even when it does not sound.

  

Fig. 3. Etching "Constellations" ("Constellationen"), 1971

Graphics: R. Haubenstock-Ramati (R. Haubenstock-Ramati)

 

Duan Zhihua's series "Notre Dame de Paris" uses techniques of combining graphic elements that seem to convey the propagation of sound waves, similar in image to the musical notes of avant-garde composers. The designer has developed an abstract compositional space that changes from poster to poster depending on the musical event that is recorded in it, and the hero who lives and interacts with this spatial environment created for him.

In the musical, as in the novel by Victor Hugo, the arena of everyday passions is the Cathedral of Notre Dame de Paris. Zhihua uses hand-drawn images of its elements, such as a Gothic rose window, bells, an image of the portal of a Gothic cathedral, a prison lattice, as well as broken and wavy lines, fragments of text, and other abstract shapes and textures. He transforms the created space depending on the changes in the emotional state of the acting hero-character to the event that he is currently experiencing. A similar creative technique was once developed by M. Churlenis. In the article "Churlenis and the problem of art synthesis", researcher and critic V. Ivanov notes that "the fundamental novelty of the creative method of the Lithuanian artist is seen in the "pictorial processing of the elements of visual contemplation according to the principle borrowed from music"" [1].

Like melodies in a piece of music, a variety of graphic themes in Zhihua posters vary, develop, transform, collide intensely, intertwine with elements of related plot themes, different in depth plans. Just as through intonation music is able to reflect the dialectic of the material world external to the composer, Zhihua's choice of graphic elements, ways of processing them, the search for forms of their constructive interaction – all solves the main task associated with the creation of an accurately found visual image as a reflection of sound.

In the modern world, having free access to the development of linear musical notation, few people think about "what a difficult and long path it was necessary to go through in order for the musical notation to enter professional use, which, despite all its shortcomings, could sufficiently fully (at least according to current ideas) reflect the sounding material. To understand at least partially the difficulties that arose, it is enough to imagine the difficulties of those who for the first time set themselves the task of capturing at least one sound in writing. After all, it could not even be drawn on writing material, since it is invisible" [4, p.69]. Now composers continue to actively develop modern forms of graphic musical notation, and designers, echoing them, are looking for their own visual means capable of conveying an image of the sound space that will be understandable to everyone. The viewer can often be deprived of direct auditory contact with the works included in the event or concert that inspired the designer to create an image visualization. Music is a living art, perceived emotionally. At the same time, the graphics are able to convey all the subtleties of vibration, the nature of intonation and timbre of sounds, creating a feeling in the viewer that he feels the sound space, hears every sound. "Notre Dame de Paris" by Duan Zhihua is a series of graphic works that can not only be read as a modern score, but also feel emotions, hear sound, immerse yourself in the atmosphere of the events taking place.

Another example is the visual design, the corporate identity of the festival, developed by Roc?o Galarza from Buenos Aires, engaged in illustration and editorial design. Her work Limbo / Festival de Freak folk (Galarza R., 2013) is distinguished by the brightness and unrestrained energy of the created image, ease and at the same time clarity of systematization of information, clarity and memorability of the form of presentation of the material, variability, which cannot but cause a well-deserved emotional response from the viewer (Fig.4).

   

Fig.4. Advertising posters of the Freak folk festival / Limbo, 2013

Designer: Rocio Galarza (R. Galarza)

 

Freak folk is a musical genre that includes and combines many other genres. It is characterized by eclecticism, merging elements of the acoustic world with the electronic world and experimenting with unconventional instruments and very specific voices. Freak folk strives to experiment with sound effects, artistic playing of an erroneous hit in the sound tone, various mutations of sound and sound layers. From the name of the genre itself arises the concept of transformation, rethinking what is "traditional".

The image graphics created by Rocio Galarza for Limbo represent a lot of free variations with a combination of visual elements (fragments of portraits of performers, musical instruments, typewriter, chicken, diamond ornament, individual elements of numbers and letters, and many others), as well as font compositions with all kinds of "visual noise", "defects" of the image. The use of an effect imitating the result of the action of a strong wind contributed to the creation of a bright artistic image. The wind blew and set everything in motion, confused everything, even mixed up different typefaces, and not only on one canvas / sheet or spread, but often in one word.

At the Freak folk festival, as a rule, it is proposed to immerse yourself in a state of celebration, constant movement, experiments and vibrations, in the rhythm of dissonant harmonies and powerful voices. The technical expressive means of design and construction of all visual components of a specific creolized text, successfully chosen by Rocio Galarza, contributed to the creation of an accurate interpretation and transmission of the meaning of the upcoming event at that time – a bright Limbo. The text of Limbo visual design, in addition to images and font, determined the choice of typography style, color, composition, modular grid, and text layout. All the elements are arranged in such a way that they direct the movement of the viewer's gaze, determine the nature of this movement, create a rhythmic relief, a polyphony of intertwining information flows, lines, as in music or dance. It is known that it is also important for dancers to freely navigate in musical scores, in which they find support and inspiration for their new productions [5]. The designer, analyzing the graphic structuring, the placement of accents in the musical graphics, can see a lot in common with the art of typography and feel the sounding matter in a new way, find appropriate techniques that emphasize the expressiveness of the theme through rhythm and texture.

Another important basis of the graphic design design created by R. Galartsa is a modular grid, which is designed to promote a clear, precise organization of the composite material. Neither on the posters of the Limbo festival, with all the clarity of information and compositional accents, nor on other media, tickets, a booklet with the program, this internal frame, being visibly present, is not perceived as intrusive and does not deprive the project of brightness, color and individuality. He, like a compositional scheme in music, on the one hand helps Rocio Galarza to organize all the material, on the other – does not restrain emotionality, energy and a riot of colors (Fig.5).

  

Fig. 5. Booklet program of the Freak folk Festival / Limbo, 2013

Designer: Rocio Galarza (R. Galarza)

 

Visual images, artistically meaningful and developed by designers, in particular, created in the projects by Duan Zhihua and Rocio Galarza, reflecting generally understandable and meaningful phenomena of reality for a person by professional specific means, may not always have the only possible interpretation, since they interact with the unique experience of the recipient. However, it is impossible not to note that a distinctive feature of their projects is the easily readable semantic connection of the created elements of artistic expression used in the composition with a broad socio-cultural context.

The design method of thinking is universal and consists in the search for meaningful, original, witty aesthetic and technological solutions, various projects, including multimedia. In order to comprehend the visual solution of the sound image of a musical and artistic event, the article conducted a detailed analysis with an analytical description of design projects based on the synthesis of iconographic and semantic analysis of the implementation of the design idea.

As a result, in conclusion of the article, the following conclusions can be drawn:

First of all: since the musical image is perceived, as a rule, through the performer, the specifics of creating its visual equivalent naturally presupposes its interpretation by the designer.

Secondly: the peculiarity of creating a visual image of a musical and artistic event is connected with the possibility of combining in one semiotic system of pictorial motifs, abstract forms, textures, font and text blocks, graphic designations of numbers and musical notation - all the elements by which a creolized text is created. Such a text should be considered as a communicative system having a special, synthesized effect on the viewer, whose technical expressive means of design contribute to improving the quality of the effectiveness of perception and the depth of interpretation of the image and content.

Thirdly, the study of the structural interaction of all elements of the composition of a creolized text informing about a musical and artistic event is facilitated by drawing analogies between the new graphic recording of musical text that became popular in the 1950s and modern typography. The mechanism of creating such a creolized text carrying information about musical or sound content, considered by the example of the works of Duan Zhihua and Rocio Galarza, can be successfully used in research, educational and directly in the design activities of the designer.

Fourth: a comprehensive analysis of the projects of modern designers posted on the Internet confirms that in a visual image that carries information about a musical and artistic event, visual and sound contexts form a structural unity, becoming a unique subject for study, contributing to the development and improvement of design methods in design.

Fifth: it is noted that modern projects, in particular, the works of Duan Zhihua and Rocio Galarza, in which there is a desire for free, innovative compositional forms, post-constructivist solutions, are distinguished by the presence of an easily readable semantic connection of elements of artistic expression with a broad socio-cultural context.

The specifics of developing the visual design of multimedia or printed products of a musical and artistic event require different ways of searching and different methods of creating visualization, which in themselves can become innovative in each project. An analytical approach to the study of sound / musical material is indispensable when designers develop communication strategies with the viewer, for whom information and advertising materials about a musical and artistic event are created.

Prospects for further research of the problem lie in a more detailed study of the process of creating an image of an aesthetically and artistically significant text. To date, they are closely related to the development of new technologies, with the public's request for the development of new multimedia products, in which a clear algorithm for switching attention from one type of information to another is seen, contributing to the coverage of the entire form of submission of materials as a whole.

References
1. Andrijauskas A. Čiurlionis and the birth of abstractionism (On the issue of priority in the genesis of abstract art). 2006. URL: http://www.litlogos.eu/eidos/research/andrijauskas1.html (date of access: 11/03/2022)
2. Boldina O. A fragment of the multimedia exhibition dedicated to W. Kandinsky’s painting “Various Actions”. 2017. URL: https://vimeo.com/227477808?embedded=true&source=vimeo_logo&owner=44161474 (date of access: 10/03/2022)
3. Valeeva D. R. On the methods of researching the concept // Philological aspect No. 1 (33) January, 2018. pp. 6-11. URL: https://scipress.ru/philology/articles/o-metodakh-issledovaniya-kontsepta.html (date of access: 10/03/2022)
4. Gertsman E.V. Methodology for the development of ancient musical cultures according to written monuments // Bulletin of the UNESCO Department Musical Art and Education. 2013. No. 2 (2). pp. 64-79.
5. Gorn A.V. Musical text and computer training (about the electronic workshop for choreographers) // Bulletin of the Academy of Russian Ballet. AND I. Vaganova. 2012. No. 2 (28). pp. 127-134.
6. Demidova M.V. Multimedia designer's score: graphic compositional schemes in solving the problems of creating visual-sound synthesis // Historical, philosophical, political and legal sciences, cultural studies and art history. Questions of theory and practice. 2017. No. 12-5 (86). pp. 62-67.
7. Demidova M.V. Theo van Doesburg and his influence on the Bauhaus. Multimedia nature of the master's creativity // MESMAHEROV READINGS - 2019. Proceedings of the international scientific and practical conference. 2019. pp. 36-40.
8. Dronik M.V. The iconological method as a means of analyzing works of non-objective painting // Historical, philosophical, political and legal sciences, cultural studies and art history. Questions of theory and practice. 2017. No. 6-1 (80). pp. 62-65.
9. Catalog of the exhibition project “John Cage. Silent Presence. To the 100th anniversary of the composer and artist. M.: National Center for Contemporary Art (NCCA), 2012.
10. Kim, Sergey (Sae Hyung). The problem of notation in modern music. 2013. URL: https://musicnews.kz/problema-notacii-v-sovremennoj-muzyke/ (date of access: 11/03/2022)
11. Komurdzhi R.Z. The essence of the artistic image in musical works // Historical, philosophical, political and legal sciences, cultural studies and art history. Questions of theory and practice. 2017. No. 12-3 (86). pp. 84-87.
12. Kositskaya F.L. Fashion catalog as a creolized text // Bulletin of the Tomsk State Pedagogical University. 2014. No. 10 (151). pp. 153-156.
13. Kuhn Laura. John Cage, visual artist // Catalog of the exhibition project “John Cage. Silent Presence. To the 100th anniversary of the composer and artist. M.: National Center for Contemporary Art (NCCA), 2012. pp. 7-18
14. Markov V. Invoice. Principles of creativity in the plastic arts. M.: V. Shevchuk Publishing House, 2002. 69 p.
15. Martynov V. “Our everything” is John Cage // Catalog for the exhibition project “John Cage. Silent Presence”, dedicated to the 100th anniversary of the composer and artist. M.: National Center for Contemporary Art (NCCA), 2012. pp.27-36
16. Projections of the avant-garde: a catalog study / Ed. ed. O.V. Shishko. Moscow: Garage Museum of Contemporary Art; Publishing house Art-guide, 2015. 404 p.
17. Ovchinnikova R.Yu. Graphic design in the context of visual culture and new technologies // Manuscript. 2019. V. 12. No. 5. pp. 188-192.
18. Semina V. Multimedia exhibition "Kandinsky, Lentulov, Malevich". 2017. URL: https://www.youtube.com/watch?v=hk2uD0BegVU (date of access: 12/03/2022)
19. Skrebkov S.S. Artistic principles of musical styles. M.: Music, 1973. 448 p.
20. Anglin S.E. History and theory of musical writing as an academic discipline // Musical art and education. 2019. V. 7. No. 1. S. 95-106.
21. Domselaer-Middelkoop M. Herinneringen aan Piet Mondriaan, 1958 // DBNL. Digitale bibliotheek voor Nederlandse letteren. URL: https://www.dbnl.org/tekst/_maa003195901_01/_maa003195901_01_0033.php (date of access: 10/02/2022)
22. Galarza R. Limbo. Festival international de freak folk, 2013. URL: https://www.behance.net/gallery/14124705/-Limbo-Festival-de-freak-folk; URL: https://catedragabriele.com.ar/portfolio/nivel3/limbo/ (date of access: 10/02/2022)
23. Haubenstock-Ramati, Roman. Multiple 1, 1969. 2013. URL: https://musicnews.kz/problema-notacii-v-sovremennoj-muzyke/roman-haubenstock-ramati-multiple-1/ (date of access: 12/03/2022)
24. Haubenstock-Ramati, Roman. Konstellationen, 1970/1971. 2020. URL: https://www.mutualart.com/Artwork/-Konstellationen-/9D3C9F0000BAC080 (date of access: 12/03/2022)
25. Zhihua Duan. Visual Transformation for Musical 'NOTRE-DAME DE PARIS'. URL: https://duanzhihua.design/Visual-Transformation-for-Musical-NOTRE-DAME-DE-PARIS (date of access: 18/02/2022)

First Peer Review

Peer reviewers' evaluations remain confidential and are not disclosed to the public. Only external reviews, authorized for publication by the article's author(s), are made public. Typically, these final reviews are conducted after the manuscript's revision. Adhering to our double-blind review policy, the reviewer's identity is kept confidential.
The list of publisher reviewers can be found here.

Visual images are gradually becoming independent objects for comprehensive study, including interdisciplinary. The statement about the relationship between art and design is indisputable, but some authors give convincing arguments on this score, and in general the problem becomes important for research reflection. In this regard, the author, also updating the issue of "art in design", has the right to expect to receive heuristically significant final results. Meanwhile, evaluating the content of the reviewed article, attention should be paid to the practice–oriented nature of the material, while the tone of the work is associated with the selection of the subject designer. Usually, in such studies, the emphasis is on the properties or features of specific types of art or creativity, but here the author of the article chose a not entirely trivial object to study. I believe that this can be noted as an important moment, changing in principle the established orientation or tradition of research on the relationship between art and design. The advantage of the approach chosen by the author should also be called quite successful illustrations confirming certain author's judgments. Yes, I would like the author to accompany his material with visual illustrations, but having described the available examples, he generally retained their meaning and placed accents in the right way. In addition, the author took a serious approach to the analysis of scientific discourse on the topic, presented an analysis of a wide range of sources related to imagery and images, it is noteworthy that various types of imagery or images were subject to evaluation, which allowed the author to compare design solutions related to certain types of visual image. I cannot agree with the formulation of the practical significance of the study: "The practical significance of the study lies in the application of an analytical approach to the study of the composition of design projects dedicated to music, which includes a content analysis method and a conceptual method, and can be used in the design and educational activities of the designer" (quoting, I keep the "author's" erroneous punctuation). Here we are talking about methodology, not practical significance – the author needs to specify which task, in principle, his research can help solve. The article touches upon, although rather superficially, some important aspects of the performer's participation, for example, in the presentation of a musical image. It is not uncommon for articles to appear in scientific discourse regarding the assessment of the role of the performer in the interpretation of an artistic work or the transfer of an artistic image through performance – it is quite reasonable that the author of the article also did not pass by this important area of research and "inscribed" his notes into the research context that has developed in this regard. The author will have to seriously correct the text for a large number of linguistic errors – it becomes obvious that the author is clearly at odds with the grammar of the Russian language, or rather with commas. In some places it looks just paradoxical: "Modern, social media platforms and Internet services...", etc. (I'll give you an analogy: mom, washed the frame - is that right?). In short, in this part, the research culture of the author of the article suffers in some way, and along with this, readers who are faced, sorry, with an illiterate text suffer. In places, the text of the article demonstrates a violation of the logic of the presentation of the material, when the author unexpectedly jumps from one stated thought to another without any preparation of the reader – at the same time, the main thread of the narrative is lost, and the author's concept itself fades. So, for example, closer to the end of the article, the author, talking about the Rocio Galarza project, quickly moves on to generalizations about the design method of thinking (by the way, the author generally mentions this aspect in passing, although it gives us the opportunity to get the results of evaluating the relationship between design and art). The lack of conclusions, as well as following the clear logic of scientific research, make it difficult to understand the material and become the basis for talking about the need to refine this material.

Second Peer Review

Peer reviewers' evaluations remain confidential and are not disclosed to the public. Only external reviews, authorized for publication by the article's author(s), are made public. Typically, these final reviews are conducted after the manuscript's revision. Adhering to our double-blind review policy, the reviewer's identity is kept confidential.
The list of publisher reviewers can be found here.

The subject of the study, as follows from the title and goal setting, the author defines the specifics of creating a visual image of a musical and artistic event. Only two design works are analyzed in detail. It follows that the subject of the study is formulated too broadly. In fact, the specifics of creating visual images are revealed only in two works: Duan Zhihua for the musical "Notre Dame de Paris" and Roc?o Galarza for the Festival de Freak folk. These are, although indicative, but special cases, the logic of the selection of which is not disclosed by the author in the article. The random type of sampling, mediated by the algorithms of Internet search services and the aesthetic tastes of the author, is not an argument for making a stylistic generalization or pointing out the universality of design techniques. Therefore, an attempt to generalize well-analyzed examples looks controversial. The author needs to adjust the subject of the study so that it reflects the strong side of the work – the analysis of empirical material. The research methodology has not been thought out by the author: there is no correlation between the research tasks and the methods of their solutions listed in the introduction of methodological approaches with the presented results in the main (analytical) part. Too generically, the author understands a specifically scientific method of content analysis, which is not actually used in the work. The strong point is the synthesis of a detailed iconographic and semantic analysis of the design projects of Duan Zhihua and Rocio Galarza, as well as an attempt to compare the creolized text of Duan Zhihua with the visual series of the cluster score by R. Haubenstock-Ramati. However, the objective relationship between the works of Zhihua and Haubenstock-Ramati remained unclear: their comparison is eclectic and unjustified. Of the tasks set, only one (the first) has been partially solved: The specificity of the visual images of two musical events in the interpretations of Duan Zhihua and Rocio Galarza is revealed. The remaining tasks are formulated too broadly and cannot be solved based on the material analyzed by the author. The relevance of the research topic chosen by the author (the relationship of musical and artistic images in the construction of a message about a musical event) is extremely high. It is due to a turning point in the modern art of design. The tendency of modern designers to abandon constructivism in favor of post-constructivist solutions, characterized by the semantic connection of elements of artistic expression with a wide socio-cultural context, is noted. This connection has been traced by the author, but, unfortunately, the results of its identification have not received sufficient attention and are not reflected in the conclusions. Scientific novelty is present in the work: a new empirical material has been put into circulation, which has been analyzed in detail; the applied synthesis of art historical methods of analyzing empirical material reflects the author's position and is worthy of attention. However, the advantages of the work are crossed out by terminological eclecticism ("communication design", "analytical description", "content analysis method", "the main content of the study" - as if there is something non-basic, "a set of search expressions", etc.), which makes it difficult to read the author's thought. The text style needs serious revision: 1) many uncoordinated, complexly composed proposals (for example, "The main content of the study is the analysis of design projects by modern designers dedicated to the development of corporate identity and information support for various cultural events related to music, namely by authors Duan Zhihua [23] and Roc?o Galarza [20]") – it is necessary to verify and simplify the author's thought in order to avoid discrepancies; 2) it is necessary to avoid arbitrary author's interpretation of terms, verifying the validity of their use on the basis of the analyzed literature. The structure of the article does not perform standard functions: there is no logical connection between the introduction, the main part and the conclusions. The content of the text needs literary editing. The bibliography as a whole reveals the problematic area of research, but paragraphs 14, 15, 16, 17 need to be proofread according to GOST requirements. The appeal to the opponents is correct. The interest of the readership of the journal "Culture and Art" in the article is guaranteed after its completion and elimination of the shortcomings identified by the reviewer.

Third Peer Review

Peer reviewers' evaluations remain confidential and are not disclosed to the public. Only external reviews, authorized for publication by the article's author(s), are made public. Typically, these final reviews are conducted after the manuscript's revision. Adhering to our double-blind review policy, the reviewer's identity is kept confidential.
The list of publisher reviewers can be found here.

The constant development of information technologies in modern society, including in the field of culture and art, determines the indisputable relevance of the topic of this article. As the author writes at the beginning, this work is "devoted to the actual practical problems facing a designer specializing in graphic design and multimedia." The relevance of the designer's use of updated technologies to embody the creative idea and concept of a visual design project of multimedia or printed products when creating musical and artistic events is unconditional. The author of the article provides a detailed overview of existing sources on the topic of the study, indicating the methods of analysis used in them. "The analysis described in the above works is important for identifying functional approaches to creating a visual image," the author summarizes. However, his own chosen approach to research (and not to the practical side of his topic) remains unclear. Although such a subject of study as "the specifics of creating a visual image of a musical and artistic event" contains serious potential for research, for example, from an interdisciplinary perspective. Only in the final part of the main part of the article, the author defines his approach to research: "In order to comprehend the visual solution of the sound image of a musical and artistic event, a detailed analysis with an analytical description of design projects was carried out in the article, based on the synthesis of iconographic and semantic analysis of the implementation of the design idea." Nevertheless, it is recommended to determine such a key position of the entire work as methodology at the beginning of the study. The definition of the main perspective of the study – "analysis of projects by modern designers ... dedicated to the development of corporate identity and information support for various cultural events related to music" – is also lost in the text of the article. In short, the preamble explaining the obvious relevance and importance of "combining into a single composition" "expressive means of different types of art" or "purposeful analysis of musical material in the development of a project related to a musical theme" turned out to be somewhat lengthy. The criticisms are limited to this. The selected works of designers Duan Zhihua and Rocio Galarza, on the example of which the author shows "innovation in the interpretation of forms when creating a free composition dedicated to a musical theme", are considered by the author with the skillful use of component, comparative, semantic-cognitive analysis, descriptive and classification methods. The article has undoubted scientific novelty, great practical significance, and demonstrates the author's deep and thorough knowledge of the specifics of the subject under study. The style of the researcher, with obvious scientific presentation, is distinguished by originality, high artistry, content and other advantages. The structure of the article (with the exception of the shortcomings already mentioned) is clear and logical. The content of the work demonstrates many advantages, among which I would like to emphasize the clarity and visual content of the characteristics in the analysis of selected design works, the vastness of the conclusions. For example: "The viewer may often be deprived of direct auditory contact with works included in an event or concert that inspired the designer to create an image visualization. Music is a living art, perceived emotionally. At the same time, the graphics are able to convey all the subtleties of vibration, the nature of intonation and timbre of sounds, creating a feeling for the viewer that he feels the sound space, hears every sound. Duan Zhihua's Notre Dame de Paris is a series of graphic works that can not only be read as a modern score, but also feel emotions, hear sound, immerse yourself in the atmosphere of the events taking place." Or: "The image graphics created by Rocio Galarza for Limbo presents many free variations with a combination of visual elements (fragments of portraits of performers, musical instruments, typewriter, chicken, diamond ornament, individual elements of numbers and letters, and many others), as well as font compositions with all kinds of "visual noises", "defects" images". The bibliography is quite extensive, includes the main sources on the topic, including foreign ones, and is designed correctly. The appeal to the opponents is made at a highly scientific level. In the final paragraph, the author gradually summarizes the achieved research results, after which he makes constructive and detailed conclusions: "An analytical approach to the study of sound / musical material is indispensable when designers develop communication strategies with the viewer, for whom information and advertising materials about a musical and artistic event are created." As a result, the author rightly concludes that the prospects for further study of the issue "are closely related to the development of new technologies, with the public's request for the development of new multimedia products, which shows an understandable algorithm for switching attention from one type of information to another, contributing to the coverage of the entire form of presentation of materials as a whole." It can be assumed that this work is of undisputed interest to researchers and professionals in the field of computerization of artistic and design creativity, in the pedagogical practice of training designers and for designers themselves working in the environment of computer multimedia, as well as for the widest readership interested in musical and artistic events.