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17ART STUDIES
PHILOSOPHICAL FOUNDATIONS OF THE INNOVATIVE (COMBINATORIAL) STYLE OF THINKING OF THE OUTSTANDING MODERN AMERICAN COMPOSER, PEDAGOG,
PRODUCER, PAINTER, AUTHOR-PERFORMER, MULTI-INSTRUMENTALIST MUSICIAN,
DRUMMER TRAVIS ORBIN
Komleva A.
(PhD),
International University of Fundamental Education (Oxford, UK); corresponding member of the International Academy of Sciences and Arts (Moscow);
State Academic Drama Theatre Lensovet. Job profile: Lighting designer (Saint-Petersburg, Russia) Union of theatrical figures (Petersburg); Guild of Non-fiction films and television (Moscow); Creative Union of Artists of Russia/International Federation of Artists (Moscow); International Union of Writers, Poets, Playwrights and Journalists (Moscow); Writers' Union of North America (Canada)
Orbin T.
American composer, producer, pedagog, painter, singer-songwriter, multi-instrumentalist musician, drummer (Delaware, USA). Place and profile of work: drummer of the 'Darkest Hour' metal band; solo career; pedagogical activity — Drummer School (master-classes on the Internet) Endorser (representative-consultant) of world leaders in the production of stage equipment for concerts, performances, shows: Pearl, Avedis Zildjian, VIC FIRTH, REMO, E-PAD, RTOM, VRATIM
ABSTRACT
This article conducts philosophical and historical research on the phenomenon of the musical art and culture of the USA in the XXI century. The various ways of scientific discoveries and achievements that allowed American musicians of the XXI century to form their own special, original style of sound are investigated. The authors identify the philosophical, social and musical reasons that move and develop modern American musical culture and art. The genesis and aesthetics of the work of the American composer, musician, drummer Travis Orbin, as an outstanding personality of modern American heavy music (metal), is considered in detail. The authors reveal that, working in different styles and directions of modern music, Orbin is convincing to colleagues and listeners, professional in terms of possession of musical instruments and has extensive knowledge of music theory, as well as charismatic in terms of his creative personality — his playing style is unmistakably recognizable by the listener.
Keywords: music, beat, aesthetics, philosophy, dominant, combinatorial, accentuation, innovation, artist, stylistic diversity, impact force, existential, empirical, absolute hearing, method, Orbin formula.
Travis Orbin, one of the few known to the general public, contemporary American musicians and composers in the genre of heavy metal music. The history of US rock-n-roll at the beginning of the 21st century remembers how Chris Cornell and Chester Bennington left the stage. These are those who could not with stand the onslaught, pressure of life and its tragic, fatal circumstances. But there are figures in American musical culture who fight every day, stepping on stage, and take their word, or rather, their note. Among those musicians and composers of the genre of heavy music include vocalist James La Brie Dream Theater, Dave Mustaine Megadeth. And our article is devoted not to listing the names of those who left, but who are next to us now.
Let's fix our gaze, burdened with musical knowledge, on a young, talented, hardworking and outstanding musician, whose career in the Darkest Hour metal band pleases his fans and inspires quivering, searching souls to open new horizons.
The world of things is unknowable, some people think so. Others believe, on the contrary, that the world is knowable. The rationalist philosopher of the New Time Rene Descartes spoke about the world of innate ideas and the sensory experience of knowing the world (empiricism). We know the world through my own personal experience. But we understand that everything
can be achieved and everything can be explored - there are no prohibitions. And for cognition of the world, personal creative participation of a person in the process of cognition is necessary. Descartes has ontological dualism and its two substances: extended res extensa and thinking res cogitans. Empiricist George Berkeley points out that the idea of the existence of matter is redundant to describe the world, while the existence of consciousness is self-evident — and since individual consciousness cannot be the source of everything, the existence of God is equally obvious [2, p. 10-16].
If Descartes proceeded from the intellectual contemplation of pure ideas (that is, from rationalism), then Berkeley brings to its logical conclusion the principle of empiricists, according to which the source of all knowledge is experience. And George Berkeley proved that in reality all the qualities of things exist only as sensations of the sense organs, and Berkeley considered the idea that things exist as a kind of reality beyond consciousness an unnecessary doubling of essences and called prejudice. Every thing known to us is a collection of ideas and sensory sensations, we cannot assert anything about a thing beyond what we have received from our senses. That is, the assertion that a certain thing exists is no different from the fact that we have some set of ideas about this thing — and also about the world as a whole. That is, a judgment about
the existence of an object is equivalent to stating that this object is perceived by the senses. And if a person cannot form an image of something in the mind, then this something doesn't exist. If the perceived object is identical to its perception, then there are objects only inside the subject [1, p. 1273].
Then the term matter only confuses human knowledge, introducing a double existence of sensible objects: in consciousness and still separately from it in a certain material world. We never perceive matter by itself: it is just our idea to describe the properties of some (material) objects. And if matter doesn't occur in experience, there is no reason to believe in its existence.
Science is also involved in understanding mental, psychological, psychophysiological, neurobiological experience. The interaction of the recipient in perceptual connections with the source of sound, its transmission, transformation and improvement. A deep understanding of the issue of neurobiological, medical components in creating a melody (creating music), generating sound on devices and media brings us into orbit of a completely different worldview of the world around us. After all, this world given to us in sensations is full of sounds that are not adapted for mechanical reproduction by the subject. Moreover, the subject can only guess that he will reproduce the sounds heard earlier somewhere. He thinks that, having dreamed and realized his dream of the sound of a melody, he will immediately find it in its completed form. Of course he will. But just a surrogate, a replacement, a distant fragment of a lost paradise on earth. And the music of the spheres will remain an unattainable dream of a musician, poet and thinker.
By reproducing, by trying to reproduce sounds, the musician becomes the target of his own mistakes for himself. Others (those who don't own instruments) can't even come close to their cherished dream — to compose music. But the one who writes music goes through the circles of Hell.
Neurobiology of biosocial animal processes
The term biosocial animal was introduced into scientific circulation by the neo-Kantian Ernst Cassirer, considering man as a symbolic animal.
This means that all processes occurring in the social life of a person are subject to one factor — the satisfaction of primary needs. And last but not least, the satisfaction of spiritual needs. According to this philosophical judgment, every day a person needs food, warmth, shelter, clothing. And these needs must be met first. And most of the time is spent on meeting these needs. Spiritual food is waiting in the wings when it is remembered. And now, if a musician, a composer, an arranger remembers it, the presence of personal motivation, the presence of a personal dominant of a person's character, becomes an important point here. His personal qualities, the ability to develop the social discipline of his own development of talents and the elementary ability to work with high dedication. Music is one of the essential ingredients of spiritual food. Popular music of the light pop genre and the heavy genre is metal.
All modern compositions are written and created in the structure of mathematical neurolinguistic programming by generating sounds of different frequencies — frequency, temperament, rhythm, tempo, modulation, vibration, reverberation. In this technically complex process, switching computer MIDI standard sound frequency protocols, audio devices, computers, musical instrument connections help [9, p. 8]. The emerging dynamic sounds of amplifiers, preamplifiers bring the recipient's spinal brain cells to different levels of entry into the structures of the entropy rings [8, p. 7]. The moment of impact force of sound falls on the ear region of the brain — special cushions — sound pickups are present from birth, as if built-in, in the be-hind-the-ear region of each person. With the help of these pads a sound wave of different frequency, direction, force of impact is grasped, and then the sound is pushed, moving towards the nerve endings of the cerebral cortex.
For the first time, the term 'dominant' personality was introduced by the neurobiologist Aleksey Ale-kseevich Ukhtomsky (1923) [4, p. 5]. His medical development at the intersection of related scientific disciplines helps to understand the processes that occur during the development of the simplest actions associated with the creative process of reducing inspiration when composing music. Dominant is the dominant focus of excitation, shaping and influencing the neural instincts of the individual. In relation to the discourse of this article, the dominant can be a series of pulsating beats with different frequencies applied by a drummer to a drum kit. In turn, the preliminary impulse for this is the primary neurosignal that enters the drummer's cerebral cortex through the vision of the visual structures of the eye apparatus.
The neurosignal that has entered the brain ensures the functioning of the cardiovascular and endocrine systems — the primary transceivers of neuroimpulses. The level of cortisol (stress hormone) in the blood rises sharply, the contraction of the heart muscle accelerates, the pituitary gland begins to secrete endorphinslhor-mones of happiness, adrenaline begins to be thrown into the blood — the so-called state of euphoria/happiness sets in. The quality of satisfaction is reminiscent of sexual satisfaction (suffice it to recall the slogan of rock-n-roll).
In classical music, as well as in a heavy genre (for example, metal), this is a rather energy-intensive form of musical art. And the working conditions of the drummer can be described as extremely difficult. And compare their performances with the work of a welder or a turner at a machine tool in a factory. After each performance, the musician loses several kilograms, the body is in a constant critical state of dehydration.
To the philosophy of music
In modern American musical culture and art (if necessary, we will separate these two concepts) since the time of Robert Ley Johnson (bluesman, author of the landmark work — the song Crossroad), Hafling Wolfe, Louis Armstrong, Muddy Waters, three 'K': Alfred, Bibi, Freddie a lot of water has flowed under the bridge. Many eras have changed. Many socio-eco-
nomic structures have changed. But one thing has remained unchanged — the North American character continues to amaze, inspire, open up new horizons for understanding the reality around us.
The impact of the economic development of the 1940s and 1950s led to the rapid growth and development of the social sphere of life for both rich and poor Americans. Everyone could afford to go to the bistro and order their favorite tune — Duke Ellington, Buddy Morrow, Glenn Miller, Tommy Dorsey, Elvis Presley, Doris Day, Marian Anderson, Ella Fitzgerald.
Scientific and technological progress didn't stand still, and the 1960s gave the whole world a great galaxy of jazzmen — composer, musician Muddy Waters, drummer Buddy Rich. Whose author's instinct allowed them to make discoveries of the eschatological level. At that time, musical art was influenced by a distorted fear for the future of oneself, one's children, one's country. The fear and trembling of everyday anxieties for humanity — the bombing of Hiroshima and Nagasaki in 1945 — had a terrifying effect on everyone, oppressive in its depth and power.
The death of John Fitzgerald Kennedy had the same level on the social psychology of the American people, on its collective egregore. After November 22, 1963, America found itself in the state of a train racing at maximum speed, which was derailed...
Since the twenties of the XX century, the fundamental standard layout of jazz bands has been fixed. It has four positions: 1. Drum set, 2. Lead guitar, 3. Guitar, 4. Vocalist. Sometimes a fifth position was added: 5. Keyboardist. In the future, we can observe the same layout in rock and roll bands (later referred to as Old School): Animals, The Who, Rush, The Beatles, Rolling stones. Separately, such performers as Carlos Santana, John Bonamassa develop their own vision on the number of necessary participants and their instruments.
Since the mid-1960s of the XX century, branches from the mainstream begin to appear, and heavy blues groups enter the scene: Iron Butterfly, Led Zeppelin (charismatic drummer — Joe Bonham), Deep Purple, Pink Floyd.
In the 70s in America Jimi Hendrix, DOORS, Eagles, Lynyrd Skynyrd, KISS, Aerosmith, ZZ Top, english Rainbow (Roni James Dio), Alice Cooper performs and blooms. Individual artists of the level of Jimi Hendrix, Steve Ray Vagan were content with even less: an additional bass player and a drum kit to hold the 'grid' for the soloist. Where necessary, advantageously emphasizing its merits and erasing inaccuracies, blunders, mistakes during a live concert performance.
In the 80s, stadium rock reigned in America: Guns N' Roses, Van Halen, W.A.S.P..
The 1990s are characterized by the synthesis sound of hip-hop, grunge, heavy metal — these are Nirvana, Beasty boys, Rage against machine, Pantera.
The 2000s brought new names and groups to the horizon of attention of the world musical community. Americans Korn, Limp Bizkit, french Kadinja, swedes Evergrey, In Flames, finns Circle of Contempt, Sami Ratikainen and his solo project Radiance.
Then in the 2010s, Periphery (idea — Misha Man-soor) appears and shoots a number of hits, one of which
Light becomes the hallmark of the group. It brightly lit up Travis Orbin, drummer, multi-instrumentalist musician, innovator.
American musician Travis Orbin began taking lessons in his homeland of Delaware with a local drummer named Honey Voschell, who was a vivid example of the continuity of generations, the development of a musical tradition. Foschell himself studied with the great jazzmen of the 1940s and 1950s, Buddy Morrow, Tommy Dorsey and Glen Miller. Honey Foschell passed on the skill and ability to read and write drum kit symbols. Later, the skill was developed by Travis himself, and he writes all the bass parts for himself (the record Midnight Acolyte, both EPs Dotty Ditties, the single Misinterpreting Movies).
Travis persistently continued to master musical knowledge and secrets, and took one individual lesson from each of the Tigers Bill Meligari and Mike Mangini (The Dream Theater), virtuoso drummer, session musician, professor at Berkeley College of Music).
Travis Orbin also took vocal lessons from singer Sacha Mullin in parallel, developing his vocal range. And his own voice sounds in his author's, solo works. At the same time, Travis is seriously interested in painting and draws up his releases and records.
Throughout his professional career, one thought has been a constant leitmotif: never get tired of learning the rattling modern world of sounds in an inclusive way.
Here it is impossible not to disturb, not to break, not to distort the fine line of being. The gap between the perception of the world in reality and in fiction can be achieved with the help of explosive syncopating rhythms, where, due to the shift of the weak and strong parts, there is a feeling of complete catharsis with going beyond the reality of perception. And here Orbin enters the borderline state of knowing the world in the spirit of Alexander Scryabin and Alfred Schnitke.
In his solo projects, Travis pushes the boundaries of one style, the genre of metal, and what in metal is valued for stylistic brightness, richness, depth, is relegated to the background in his djent projects in order to achieve stylistic diversity. It, in turn, makes it possible to express all the pain, all the awe of the feelings of a wounded soul that has fallen into the network of a Bird. After all, the image of the Bird is an allegory, it is the image of the soul of the artist's man. A titan artist who creates his canvases for centuries in the spirit of Tintoretto — strong, all-encompassing; in the spirit of Gior-gione — quivering and hidden, depicting a living soul in the moment of interweaving with the eternal meaning of Being. Always striving, always seeking, insatiable... and airy, like a cloud of mist in the early morning. The living thrill of an impressionist who frightened away his own dream, in which the Artist wandered, as in the labyrinth of the circles of Hell of the great Italian Dante Alighieri.
Orbin's absolute ear helps to understand the world of things in the spirit of Leonardo da Vinci — creating art as much as possible in music: in various musical styles and directions, and in painting — creating paintings, and in pedagogy — he teaches a drummer at his school. He tells in detail and shows in his
master classes on the Internet — where to start their training for those who want to become a drummer, regardless of age.
So, in his solo projects Finite and Finite III, one can clearly hear the deep desire of all the senses of musical instruments to break out. In its percussion part, as well as the vocal, guitar part, the composer breathes in his own soul, his own worldview, attitude, where his own body becomes a center-forming force. And this is not only djent, not only jazz jam, but an intellectual rethinking of indie (electric guitar, various synthesizers), ethno (uses an instrument — persian santoor), blues (Pro Tools with a large set of plug-ins), a 16-channel sound recording console in its own studios.
In our author's work Finite III we capture the breath of the poetry of Georg Geim in the symphony The Twilight of Humanity, the theme for piano Dance of Death by Franz Liszt, the symphonic theme Night on Bald Mountain by Modest Mussorgsky [5, p.156- 173].
Orbin himself spoke of this work as a new breakthrough forward. This Finite III recording set a new personal benchmark for Travis. It was the first time that he was able to create something interesting, captivating songs that created a dynamic arc, an arc that was important in creating a special, new feeling for the music. In this work, new growth points were reached in the mixing process, production/sound design was also a breakthrough.
In the piece of music, the Finite IIIEP, Orbin uses a variety of high-end pro audio/analog recording equipment (preamps, equalizers). Lots of different drums, cymbals; percussion triangles, sticks, castanets, maracas, rattles; 5-string bass: ESP LTD AP-5 and 4-string bass: ESP LTD B-1004 Multi-scale, electric guitar: ESP LTD EC-256, various synthesizers.
In the studio arrangement of drums, Orbin uses a sufficient number of drums: two tom-toms, one bass drum to create a heavy, resonant tone, hi-hat, 5-6 cymbals of different sound range.
A special role is given to the cardan shaft. He manages to carve out the fire of expression through accuracy, clarity, strength, power, brightness, depth. With a concentrated point impact, its stylistic expressiveness is revealed. Orbin throughout his career as a drummer uses a crossed series of blows — a serial technique (using REMO heads). The top head, on which the drummer hits, is percussive, the bottom head is resonant.
Kick, snare, hi-hat (foot pedal — what was called the charleston in old jazz, Dixieland) — this is the main trinity of the rhythmic grid, in which the hi-hat is given the main place, since the hi-hat doesn't allow the sound to fall out drums, cements their sound in a trinity.
Drum fittings and accessories are parts of a drum kit used to tune, position and otherwise support the drum kit itself, as well as various items used by a drummer in rehearsals and performances. Accessories from different manufacturers are similar, but not always interchangeable. The various metal parts of the drums not only significantly affect the sound, but also serve as significant styling elements.
The rim (hoop) of the drum is made of metal, wood or other material. Particular attention is paid to the quality of the rim, since it is this rim that presses the
plastic to the drum body, which affects the transmission and amplification of vibrations. There are two types of metal rims: stamped and cast. The latter are considered higher quality, cost more and usually come with more expensive drum kits.
Each drum in a drum kit has its own pitch, which is built into it by the manufacturer. The drummer's task is to extract the sound as much as possible, while significantly enriching it with his knowledge and professional skills!
The concert starts long before it starts. It may be five minutes, it may be a week before the concert, it may be six months before the concert. A Musician begin to desperately want to see him. Himself, as if from the outside, desperately wanting, powerful, waiting and loving this moment, and this platform that is waiting for you, and these people who will come. And now, as an athlete, there comes a moment when you are burnt out, when you are afraid that you will not cope, when you desperately hate everything connected with the upcoming performance. But these exciting moments are already in the past — before the pandemic there were a large number of concerts, now there are none. And if something does appear, then it is, in general, about nothing... There are no real concerts, no real tours. Where are you, musical art? Where are you, art of the drummer? Have you completely disappeared?
That schizophrenic legacy of a money-scarred show business is also affecting hard-rock bands: metal bands. They exist in contrast to the ardent, rabid pop music. Performers frankly entertaining direction. The metal genre in America is amazingly built into the structure of show business as well. But musicians with an extraordinary model of behavior, an extraordinary level of thinking, and creation at the drum set managed to occupy this niche.
It is easier for the groups of '4' Big Metal: Metallica, Megadeth, Antrax, Slayer (Testament). If their performance orders dry up, or performances are canceled altogether, they live off royalties from sales of their commercial products, as well as being endorsers of various stage equipment manufacturers: from sound to lighting.
Exploring new horizons
In 2022, the moment of comprehension of reality will come to light more clearly, sharper, brighter. The sphere of culture and art is becoming an elitist occupation, which not many can afford to do. But the chosen ones. Those who didn't give up this activity during the pandemic.
An outstanding American composer, multi-instrumentalist musician, drummer Travis Orbin is constantly at the moment of developing a drawing of his own future part, before its final implementation in the score of the upcoming concert.
Outlining the drawing of the solo part, sculpting the image, making the rhythmic fabric of the future work, its tempo-rhythm, the grid, Orbin closely follows the main outline of the narration by the vocalist of the group and at the right moment strikes a decisive blow in the form of a semantic accent.
Strong 'share' of Travis Orbin
A musician of Orbin's level seeks to bring to life not a work of art, but shows life itself in this work. Revealing all its explicit and hidden meanings.
Orbin's method is tightly packed into the centering force of the impact (which falls in the middle of the drum). The juiciness of the impact is formed due to the plastics that cover the drums. The depth of the sound of the drum is achieved due to the physical power, tension, kinetic orientation of the blow of the hand at the moment of squeezing the stick with the fingers until the shoulder is raised. The special speed of movements, their maneuverability, the accuracy of the performance of drum rolls is achieved at the moment of assessing the intended action of the soloist. A look at the musical part is achieved due to the dominant charisma of the performer himself, his core personality.
The next push of thought-giving action is the nodal contraction as each element of Travis Orbin's drum kit sounds rich, powerful, thick. The richness of sound during sound impact due to the correctly distributed specific force of Orbin' s muscle mass.
An aesthetic effect is created of filling the spatial sound due to the resonant coating — the lungs of the listener (recipient) begin to breathe with the overflow of drums. The diaphragm, under the pressure of blood pressure, increases the volume of blood pumping — the whole body begins to move incredibly — the spiral of aspiration of the inner impulse beats upwards, into the brain. Fast-running blood, entering the brain, returns back to the muscles, which don't stop contracting, continuing their movement. It seems that the drummer binds his emotional outburst, his desire to conquer the audience into a knot, into a single clot, into a single fist — otherwise why BE?
All the artist's art is based on the conquest of the audience. To show, to surprise, to laugh, to touch — to inspire for something better — is the task of the artist on stage. And the drummer is the link in this chain.
When developing his own drum part, Travis Orbin uses the structural techniques of the musical and artistic method: merging the rhythm section with the general presentation of the vocal material by the vocalist, in-depth study of the scores of all parts participating in the proposed material, placement of accents — accentuation, nuance modeling — nuance, docking with the intended a complex element of the composition (crescendo with guitars, vocals, keys; access to diminuendo).
Philosophically, his work can be characterized as a continuous movement from the individual to the general, from the particular to the general — a deductive model. However, at the moment, merging into an organic whole with the members of the group, there is a generalization of Orbin's personal participation, and here the opposite movement occurs — from the general to the particular. From the solo performance of the vocalist of the group to the sound extraction of drums in the backstage.
Most of Travis Orbin's standard drumming starts on the downbeat. At the beginning of the theme, the sound is cut out loudly, in the 2nd part of the part it also lasts forte, in the 3rd part in the coda the measure is
reduced by half, but it still sounds forte. And the continuous change of rhythm and time signature in Travis Orbin's musical parts is called the term rubato. However, this is shifting the strong beats and adding additional beats. This is the reason for the special intonation of the work by the vocalist, and the thick, pasty, meaty sound of the rhythmic pattern of the musical work.
In his game, Orbin uses the blast beat technique: traditional beat, hammer beat, skank beat.
The blast beat technique sounds like a solid wall of sound firing at 180 bpm in normal mode, at an accelerated tempo of up to 250-280 bpm. However, Orbin manages to perform this technique much faster, which is an undoubted phenomenal performance technique — a sudden burst of machine guns 'waters 'tirelessly and rapidly, as if involving the listener/recipient into its multifaceted dramatic world.
The blast beat technique was first invented by Billy Joel in 1970.
Drumroll sometimes sounds in the semantic plan as an interruption of the feelings of the lyrical (main) hero. Where principle and hopelessness coexist side by side and a dead end or, conversely, flying up becomes the only possible solution to all issues.
The accentuation and nuance of the downbeat in the rhythm section adopted in metal (where the standard four quarters are played, but with an added one beat — the fifth = 4/5), shifts the time signature (as, for example, in jazz, hip-hop, blues). Due to this stylistic device, the cinematic effect of the influx is achieved — interrupting the action — a motion picture is drawn before our eyes.
And here Travis Orbin acts as an innovator — he quickly and accurately built a fundamental concrete 'bridge' between principle and hopelessness. He offers various solutions to the situation described in the lyrics, like an arranger. This bridge is sufficiently strongly reinforced by its physical load, which reveals the juiciness of the sound of the drums, their brightness, colorfulness and semantic fullness.
By loading the hi-hat, the drummer solves the main, fundamental task of his part — weaving, like a weaver, a musical canvas; draws, like a painter, pasty, with wide strokes, a juicy musical picture. It doesn't allow the dense sound of the beat to escape into the void. On the contrary, it fills with sound, condenses with the sound of emptiness in the entropic emptiness of the universe.
Travis Orbin's innovation lies in achieving depth of sound and a bright, richly colored rhythmic pattern with a strong beat, the dominant sound of the gimbal (a series of rhythmically pulsating staccato beats). This is how an expressionistic picture of a decisive onslaught, an assault on an impregnable bastion — a silent listener — is created.
Stylistic features of the author's performance of Orbin
The author's style of Orbin's performance is characterized by dynamics in music. Characterization of the intensity of the sound of a piece of music. In the music of the metal genre, the main sound of the melody is the tonic, and the music itself is calledpentatonic, based on
five notes of the scale: C (I) - D (II) - E (III) - F (IV) -G (V).
The metal genre is characterized by a pronounced beat, meter (time signature, regular distribution of strong and weak beats). Measure (a segment of a piece of music enclosed between two metric accents, a unit of meter). Rhythm, included the heartbeat of the drummer musician himself.
Orbin's innovation is manifested in the development of his own style, his own style, his own aesthetics of the metal genre. And if there is such a formula in the metal genre, where the elements are: impact force + lightning speed of reaction + brightness of presentation (artistry) = sound power (meat).
Then according to the Orbin metal formula is added:
Depth of impact force + lightning-fast accuracy of reaction + expressive brightness of delivery (artistry; creating your own stage image) = power (juiciness) of sound (juicy meat).
Thus, drummer Travis Orbin seeks to tell his story of being a character, image, or social phenomenon. The topic of social psychology is ever broader and is increasingly being developed by many musicians. American musicians are at the forefront of this phenomenon. Since the new technical achievements of show business are more interesting and sharper, they form an emotionally expressive content, the coloring of musical canvases [7, p. 8]. Show business novelties form a new philosophy of musicians.
Philosophy of metal
And this is no coincidence. The semantic gap in the metal genre should be justified from the musical point of view of building the structure of the future work. The semantic gap is a legacy of jazz and blues. Mostly jazz, where there is syncopation (shifting the rhythmic accent to the weakest part of the measure). Knocked down shares give rise to a semantic gap in the brain of the recipient-listener. And with the attack of the guitars (the so-called spurt), the vocalist sings the melody around a steady tone produced by drummer Travis Orbin behind the drum kit — this is called a semantic breakthrough.
An atmosphere of Apocalyptic pathos is created.
In the metal genre, we can see a whole bunch of compositional decisions that came from classical music. For example, the rubato technique, where there is a continuous change in rhythm and time signature throughout the entire piece of music.
The works of the metal genre (in the form of a ballad, rondo, songs) have a structure that is quite firmly established for the classics of this genre.
However, it should be noted that the organic nature of this genre contains constant modification, self-renewal, as in nature, rebirth and improvement of the structures of musical canvases.
So nu (aggro), death, thrash, doom, speed stood out from the heavy metal genre. Mixing the alternative rock genre with hip-hop, funk, grunge, industrial accents produced progressive metal, math-metal, math-core, metal-core and many others. These formulas are conditional, and individual for each specific case when a new musical part, a new musical group appears.
Moreover, the schemes, tables and graphs themselves in various information resources interpret the emergence of a particular subgenre and genre of metal in different ways.
Let's take care of the legacy of today's outstanding metal musicians in the old world and in the new world. And with joy to learn new worlds and universes of improved musical formulas. Since it enriches the creative heritage of the entire world musical and artistic process.
Metal philosophy is characterized by asymmetry in identifying images or social orientation, injustice, or personal experiences of the protagonist. This asymmetry is organically built in, it is a canvas that the drummer weaves and extracts at the drum set. This asymmetry makes it possible to reveal simple human feelings of the lyrical hero-vocalist [6, p. 33]. During their performance, the musical group seeks to rethink both time and space, and themselves. It is always an attempt to rethink the category of Time, the category of Space and its Being-in-Itself according to Martin Heidegger.
Moreover, the schemes, tables and graphs themselves in various information resources interpret the emergence of a particular subgenre and genre of metal in different ways.
Let's take care of the legacy of today's outstanding metal musicians in the old world and in the new world. And with joy to learn new worlds and universes of improved musical formulas. Since it enriches the creative heritage of the entire world musical and artistic process.
Metal philosophy is characterized by asymmetry in identifying images or social orientation, injustice, or personal experiences of the protagonist. This asymmetry is organically built in, it is a canvas that the drummer weaves and extracts at the drum set. This asymmetry makes it possible to reveal simple human feelings of the lyrical hero-vocalist [6, p. 33]. During their performance, the musical group seeks to rethink both time and space, and themselves. It is always an attempt to rethink the category of Time, the category of Space and its Being-in-Itself, according to Martin Heidegger.
The ideological and artistic value of the metal genre
Ultimate clarity and concreteness in the ideological and artistic content of a musical work.
The image of the eschatological tragedy, the inner spirit of the tragedy of the modern generation, not only young, but also people of mature age, inspiring people to the simplest thing — to everyday feat in the struggle with oneself. To overcome the inner crisis of the soul. The existential path of inner experiences of the lyrical hero... who does not exist in reality. He is invented. It is fashioned... during the musical part that ends. Since time in any work of art has its beginning — length — development and completion.
The sniper scope in the sensual world of things by the outstanding American musical artist Travis Orbin is a calibrated, accurate look at the world of things given to him in sensation. And this is where his innovation manifests itself: in an expanded rational consciousness,
deep philosophical thinking and a powerful transcendent action of empirical experience given to him in the sense of the world order of things.
Protest music?
The music of the protest was Louis Armstrong, who sang a'capello where he wanted and how he wanted. He invested in his speech both the soul and the thought of the creator — what he wanted to say! He was a man and a singer with charisma. With a human hard-lived fate.
What about rock? Were there heroes in rock? Were. But they were playing Fate. Iggy Pop tried on the image of Petrushka by Igor Stravinsky. Leonard Cohen didn't play. Leonard Cohen stubbornly developed layer after layer of empirical pain rings of the human soul. And for this he is appreciated and respected. Bob Dylan charted his own creative path.
Unfortunately, metal would like to be a protest, and could be, but in practice this concept is blurred. A show called baby-metal, Indonesian, Malaysian metal-children, 12 years old, cut on metal guitars. A 12-year-old girl in a carefully cuts high-speed beats, masterfully showing how simple it all is. Just? What's this? They have no fate, no lived years, and therefore it is difficult to believe their 'art' of sound production. Their voices are empty, the images are deliberately feigned. Because they have no inner content. And there is nothing for the listener to cling to — dead aesthetics. Dead sounds. Dead zone.
The question arises about the paradigm of meanings in the study of the value-semantic axiological heritage of certain cultural layers, eras, meanings [3, p. 2126].
The genre of heavy music — Metal was born in the dusty garages of California, Arkansas, Colorado, New Orleans, New York by bearded truckers, bikers. All those who have a destiny and life — not well-fed and cheerful, but unbearably difficult, bitter. And according to the British scientist Stephen Campbell, 'here there is a recalibration of meanings and concepts in the context of the worldview of the artist's vision and the life around him' [10, p. 1321].
The creative heritage of Travis Orbin teaches us to rethink the usual established norms and paradigms in the perception of modern world music. The clarifying accents and integrity of the harmonic beginning of the composer Travis Orbin, his goal-setting as the author of his own songs and musical compositions, the arrangements of finished works, as well as the experimental spirit of the pioneer teach us not to give up, but to go forward no matter how painful it is.
And every day the Man goes out into the street, as if to the Battle, continuing in his original life path to hum Travis's melody.
References
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2. Komleva A.V., Orbin T. Historical and phe-nomenological prerequisites for the development of musical art and culture in the USA. Praha: Science of Europe, 2022. 191 p.
3. Komleva A.V. Axiological approach in building the concept of 'other' on the example of the 'Golden Parade of the 22 Pharaohs' (New Museum of Egyptian Civilization, April 3, 2021. Cairo, Egypt) l Materials of the XVII International scientific and practical conference. Dec. 30, 2021 - Jan.7, 2022. Sheffild, UK. Areas of scientific thought. Vol. 2. 2021. 124 p.
4. Ukhtomsky A.A. Dominant. St. Petersburg: Peter, 2003.
5. Fokin D.A. Georg Geim: the poetry of the Apocalypse. Twilight Poetry or Humanity Symphony: New Readings and Interpretations. Collective monograph. Moscow: Cultural Revolution, 2021. 342 p.
6. Komleva A.V. Anthropology of the phenomenon of the hero in literature and on the theater stage in our time. Europe, Russia, United Kingdom l Materials of the XI International scientific and practical conference, 'Conduct of modern science', November 30, 2015 — December 5, 2015. Editor: Michael Wilson. — UK: South Yorkshire, Sheffield, 'Science and education LTD', 2015. — Vol. 9. — Law. Philosophy. — 76 p.
7. Komleva A.V. World theatrical scenography: the aestetic arts of decoration and lighting. Monograph. Deutschland: Saarbrucken, LAP LAMBERT Academic Publishing, 2013. 156 p.
8. Kuang Jun and Tingfeng Yang. Popular song composition based on deep learning and neural network. Journal of Mathematics. December 2021. Vol. 2021. Article ID 7164817. 7 p. doi.orgl10.1155l2021l7164817
9. Seyyed Pooya Hekmati Athar, Mohd Anwar. Music Embedding: a tool for incorporating music theory into computational music applications. USA: University North Carolina, 24 April 2021. ArXiv:2104.11880v1 [cs.SD].
10. Stephen J. Campbell. Special review: Carmen C. Bambach. Leonardo da Vinci. Residcovered. 4 vols. New Haven, CT: Yale University Press, 2019 ll Renaissance Quarterly. Vol. LXXIII, No. 4. P. 1321.
