Історичне виконавство як тенденція музичного мистецтва останньої третини XX - початку XXI століття
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Дата
2021
Назва журналу
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Назва тому
Видавець
СумДПУ імені А. С. Макаренка
Анотація
Дисертація на здобуття наукового ступеня кандидата мистецтвознавства (доктора філософії) за спеціальністю 17.00.03 Музичне мистецтво. – Сумський державний педагогічний університет імені А. С. Макаренка, Суми, 2021. Дисертацію присвячено обґрунтуванню та вивченню специфіки старовинної музики, виявленню різних підходів до інтерпретування у сфері автентичного виконавства. В роботі окреслено ґенезу «автентизму» як музичного мистецтва останньої третини ХХ – початку ХХІ століття, виявлено шляхи становлення жанрів музики епохи Бароко, особливості їх конструювання, сформульовано методологічні принципи вивчення феномену старовинної музики як кореляції методів «реконструкції» і «деконструкції», що здійснюється на базі аналізу історичних наукових джерел. Наукова новизна отриманих результатів пов’язана з введенням у науковий обіг недостатньо досліджених в мистецтвознавстві джерел, що присвячені старовинній музиці і способам її виконання; виявленням стратегії підготовки музикантів-виконавців, аналізом виконавських інтерпретацій відомих солістів та ансамблів, чия творчість пов’язана з автентичним виконанням музики епохи Бароко. У дисертації використаний системний підхід до вивчення старовинної музики, збудований цілісний комплекс взаємопов’язаних елементів (за допомогою якого виявлено: етапи розвитку історичного виконавства, методи аналізу, розглянуто стилі композиторів епохи Бароко, координати драматургічної цілісності, здійснено порівняльний аналіз інтерпретацій солістів академічного і автентичного напрямів). Оскільки питання дослідження особливостей старовинної музики актуальне і сьогодні, то сучасні дослідники продовжують вивчати роботи попередників і вносять своє бачення в формулювання виконавських принципів «автентизму» (акустика, інструментарій, темп, орнаментика, динаміка та ін.). Формулюються методологічні принципи вивчення феномену автентичного виконавства, роз’яснюються атрибути методів «реконструкції» і «деконструкції» - стосовно до відтворення історичної інтерпретації старовинної музики. Завдяки кореляції методів «реконструкції» та «деконструкції» відбувається відтворення історичного образу і сенсу музичної культури Ренесансу і Бароко.
The dissertation for acquiring a scientific degree of the Candidate of Art Criticism (Doctor of Philosophy) on specialty 17.00.03 Musical Art. – Sumy State Pedagogical University named after A.S. Makarenko, Sumy, 2021. The dissertation is devoted to substantiation and study of the specifics of ancient music, identification of different approaches to interpretation in the field of authentic performance. The work outlines the genesis of "authenticism" as a musical art of the last third of the 20th – early 21st century, has identified the ways of formation of genres of Baroque music, features of their construction, formulated methodological principles of studying the phenomenon of ancient music as a correlation of methods of "reconstruction" and "deconstruction", based on the analysis of historical scientific sources. The scientific novelty of the obtained results is connected with the introduction into scientific circulation of insufficiently researched in art history sources devoted to ancient music and ways of its performance; identifying the training strategy of musicians-performers, analysis of performance interpretations of famous soloists and ensembles, whose creative work is associated with the authentic performance of Baroque music. This study uses a systematic approach to the study of ancient music, has built a holistic set of interconnected elements (which revealed: stages of development of historical performance, methods of analysis, the styles of Baroque composers, coordinates of dramatic integrity, comparative analysis of interpretations of academic and authentic soloists have been considered). Since the question of studying the features of ancient music is relevant today, modern researchers continue to study the work of predecessors and put their vision into the formulation of the performing principles of "authenticism" (acoustics, instruments, tempo, ornamentation, dynamics, etc.). The methodological principles of studying the phenomenon of authentic performance are formulated; the attributes of the methods of "reconstruction" and "deconstruction" are explained – in relation to the reproduction of the historical interpretation of ancient music. Due to the correlation of the methods of "reconstruction" and "deconstruction", the historical image and meaning of the musical culture of the Renaissance and Baroque are reproduced. The uniqueness of each historical situation and the significance of the context of the epoch, in which the emergence of appropriate tools, canons of musical notation and performance take place, are determined. The issues outlined and posed in the developments of researchers of the origins of the authentic movement, which continue to be actively studied and developed, are stated. At the beginning, "single" amateur soloists (early 20th century, in the circle of family and friends) became interested in the authentic performance of ancient music, later various instrumental ensembles appeared, and baroque vocal art gradually developed. The application of the method of "reconstruction" has led to thinking over the understanding and change of all means of expression: tempo, movement, instrumentation, touches and strokes – even the tasks and meaning of music as an art form. "Deconstruction" involves "shifting the focus" in identifying the role of details, which decipher the meaning of the composition. The use of this method by authenticism scholars clarifies the inaccuracy of many developments and conclusions about ancient music, helps the modern listener to improve their understanding of the relevant culture of the era. Owing to the constant searches and discoveries of musicians-researchers and performers-authenticists, new various facets and meanings of the reproduced music of ancient composers are opened. The global significance of the role functions of instruments and the transformation of their acoustic and timbre-dynamic characteristics, which are used in the restoration of Baroque music, are determined.
The dissertation for acquiring a scientific degree of the Candidate of Art Criticism (Doctor of Philosophy) on specialty 17.00.03 Musical Art. – Sumy State Pedagogical University named after A.S. Makarenko, Sumy, 2021. The dissertation is devoted to substantiation and study of the specifics of ancient music, identification of different approaches to interpretation in the field of authentic performance. The work outlines the genesis of "authenticism" as a musical art of the last third of the 20th – early 21st century, has identified the ways of formation of genres of Baroque music, features of their construction, formulated methodological principles of studying the phenomenon of ancient music as a correlation of methods of "reconstruction" and "deconstruction", based on the analysis of historical scientific sources. The scientific novelty of the obtained results is connected with the introduction into scientific circulation of insufficiently researched in art history sources devoted to ancient music and ways of its performance; identifying the training strategy of musicians-performers, analysis of performance interpretations of famous soloists and ensembles, whose creative work is associated with the authentic performance of Baroque music. This study uses a systematic approach to the study of ancient music, has built a holistic set of interconnected elements (which revealed: stages of development of historical performance, methods of analysis, the styles of Baroque composers, coordinates of dramatic integrity, comparative analysis of interpretations of academic and authentic soloists have been considered). Since the question of studying the features of ancient music is relevant today, modern researchers continue to study the work of predecessors and put their vision into the formulation of the performing principles of "authenticism" (acoustics, instruments, tempo, ornamentation, dynamics, etc.). The methodological principles of studying the phenomenon of authentic performance are formulated; the attributes of the methods of "reconstruction" and "deconstruction" are explained – in relation to the reproduction of the historical interpretation of ancient music. Due to the correlation of the methods of "reconstruction" and "deconstruction", the historical image and meaning of the musical culture of the Renaissance and Baroque are reproduced. The uniqueness of each historical situation and the significance of the context of the epoch, in which the emergence of appropriate tools, canons of musical notation and performance take place, are determined. The issues outlined and posed in the developments of researchers of the origins of the authentic movement, which continue to be actively studied and developed, are stated. At the beginning, "single" amateur soloists (early 20th century, in the circle of family and friends) became interested in the authentic performance of ancient music, later various instrumental ensembles appeared, and baroque vocal art gradually developed. The application of the method of "reconstruction" has led to thinking over the understanding and change of all means of expression: tempo, movement, instrumentation, touches and strokes – even the tasks and meaning of music as an art form. "Deconstruction" involves "shifting the focus" in identifying the role of details, which decipher the meaning of the composition. The use of this method by authenticism scholars clarifies the inaccuracy of many developments and conclusions about ancient music, helps the modern listener to improve their understanding of the relevant culture of the era. Owing to the constant searches and discoveries of musicians-researchers and performers-authenticists, new various facets and meanings of the reproduced music of ancient composers are opened. The global significance of the role functions of instruments and the transformation of their acoustic and timbre-dynamic characteristics, which are used in the restoration of Baroque music, are determined.
Опис
Ключові слова
історичне виконавство, автентичне виконавство, автентизм, барокові ансамблі, вокальний консорт, реконструкція, деконструкція, концепція, historical performance, authentic performance, authenticism, baroque ensembles, vocal consort, reconstruction, deconstruction, concept
Бібліографічний опис
Коденко, І. І. Історичне виконавство як тенденція музичного мистецтва останньої третини XX - початку XXI століття [Текст] : автореф. дис. ... канд. мистецтвознавства : спец. 17.00.03 "Музичне мистецтво" / Коденко Ірина Іванівна ; МОН України, Сумський державний педагогічний ун-т ім. А. С. Макаренка ; [науковий керівник О. І. Козак] – Суми, 2021. – 19 с.