Жанр неаполітанської пісні XVI–XIX століть (теоретичний аналіз)
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2021
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Анотація
Дисертацію присвячено вивченню у теоретичному аспекті жанру неаполітанської пісні – явища, з яким пов’язані стійкі шаблони сприйняття. До недавнього часу Сanzone Napoletanа здавалася цілком визначеним пластом вокальної культури із конкретними характеристиками, внаслідок її популярності у галузі салонної та «легкої музики» з кінця XIX століття й до 1970-х років, коли інші – не естрадні форми Сanzone Napoletanа – були витіснені поза музичний контекст. «Santa Lucia», «O’ Sole Mio», «Torna a Surriento» поряд з іншими зразками поетів С. Ді Джакомо, Л. Бовіо, Е. Муроло, композиторів Т. Коттрау, Ф. Тості, Е. Ді Капуа, Е. Куртіса, Л. Денци та інших, із характерним для них змістом мелодраматичного відтінку, підкреслено кантиленною мелодикою, пряними гармоніями та неаполітанським діалектом, вважалися класичним каноном і чи не єдиною формою неаполітанської пісні, що почали формуватися лише з 1830-х років. Однак у ситуації максимальної ясності, залишалась нерозкритою низка питань, головне з котрих – якими є витоки даного явища? Які жанрові різновиди народної італійської пісні протягом її багатовікової історії вплинули на формування канону, визнаного класичним? Будучи прикладом художнього синтезу професійної / композиторської та народної / аматорської традицій, неаполітанська пісня, чия хронологічна приналежність у довідкових виданнях визначена досить чітко (кінець XIX – початок XX століть), потребує нового 3 погляду – більш системного та комплексного. Саме такий підхід здатний вирішити проблему «білих плям» щодо витоків Canzone Napoletana, її жанрових різновидів, висунутих у процесі історичної еволюції. Зазначені положення визначають актуальність запропонованої теми, дозволяють узагальнити досягнення наукової думки та залучити досі невивчений музичний матеріал. Об’єктом дослідження обрано жанр неаполітанської пісні. Предметом ‒ процеси еволюції жанру в залежності від музично-історичного контексту, стильових установок епохи та індивідуальної творчості композитора. Мета дослідження полягає в осмисленні неаполітанської пісні як цілісного жанрового явища в процесі його історичної еволюції: від витоків в народній та міській культурі Середньовіччя, різновидів Canzone Napoletana у різних музичних епохах до визнаного канону «неаполітанської пісні» на рубежі XIX– XX століть. Узагальнення результатів наукових досліджень щодо особливостей Canzone Napoletana як жанрового явища довів, що в українському, російськомовному і китайському музикознавстві ситуація розробленості інформаційного поля з питання Сanzone Napoletanа є вкрай слабкою, незважаючи на деякі кроки у цьому напрямку (С. Буригін, О. Москвін, Фанг Яхонг, Чан Цзін Ге). Інформація за даною темою зосереджена здебільшого в зарубіжних джерелах, як і самі нотні зразки, що являють собою бібліографічну рідкість навіть в Італії. Це обумовило звернення до вивчення іноземних джерел – переважно італійських дослідників. Встановлено, що передумови сучасної наукової думки, спрямованої на вивчення музичного фольклору Неаполя, вперше виникли в Італії у XIX столітті (Ф. Чіреллі, Г. Унгареллі, К. Блазіс та ін.). В контексті інтересу романтизму до народної культури музикознавчі розвідки носили більшою мірою практичний характер: збору і запису текстів неаполітанських пісень, нотної фіксації зразків усної творчості. Першим в цьому напрямку стала збірка «Passatempi musicali» Г. Л. Коттрау (1824), що впродовж наступних 50 років породила цілу хвилю створення та видань збірок 4 неаполітанських пісень у ХІХ столітті (Ф. Флорімо, Т. Коттрау, В. де Мельо, Л. Чіурацці). У дисертаційному дослідженні також охарактеризовано роль музичнодослідницької та редакторської праці композитора Гійома-Луї Коттрау, розглянуто підготовлену ним «Passatempi musicali» – збірку неаполітанських пісень, до якої увійшли фрагменти з опер-buffa, стародавні селянські пісні, епіко-ліричні пісні, балади, розбійницькі пісні та пісні-пародії з міського циклу, імпровізаційні пісні. Видана вперше у 1824 році, вона сприяла затвердженню Canzone Napoletana у європейському музичному контексті. Підкреслено, що завдяки зусиллям Г.-Л. Коттрау, француза за походженням, було зафіксовано найдавніші зразки унікальної пісенної спадщини південно-італійського регіону, що знайшло надалі підтвердження в етномузикознавчих розвідках ХХ століття. Узагальнено і музично-теоретичні відомості про неаполітанські пісні останніх десятиліть XIX ‒ початку XX століття, визнаних «золотою добою» даного жанру. Підкреслюється типовість їх форми (куплетна, АВ), схожість фактурного та гармонійного рішень, переважання кантилени, простота мелодійного рисунка та загальна «відкритість» Canzone Napoletana до інтонаційного діалогу з будь-якими вокальними жанрами.
The dissertation is devoted to the theoretical study of the genre of Neapolitan song–a phenomenon associated with stable patterns of perception. Until recently,Canzone Napoletana seemed a definite layer of vocal culture with specific characteristics, due to its popularity in the field of salon and "light music" from the late 19th century until the 1970s, when other non-pop forms of Canzone Napoletana were pushed out of musical context. "Santa Lucia", "O 'Sole Mio", "Torna a Surriento" along with other examples of poets S. DiGiacomo, L. Bovio, E. Murolo, composers T. Cottrau, E. Di Capua, L. Denza, and others, with their characteristic melodramatic content, emphasized by cantilena melodies, spicy harmonies and Neapolitan dialect, were considered aclassical canon and almost the only form of Neapolitan song, which began to take shape only in the 1830s.However, in a situation of maximum clarity, a number of questions remained unsolved, the most important of which is the next. What are the origins ofthis phenomenon? What genre varieties of Italian folk song during its centuries-old history have influenced the formation of a canon that is recognized as classical? As an example of the artistic synthesis of professional / composer and folk / amateur traditions, Neapolitan song,whose chronological affiliation is clearly defined in reference books (late 19th–early 20th centuries), needs a new look, more systematic and comprehensive. It is this approach that can solve the problem of "white spots" on the origins of Canzone Napoletana, its genre varieties, which are put forward in the process of historical evolution. These provisions determine therelevanceof the proposed topic, allow to summarize the achievements of scientific thought and to attract stillunexplored musical material. Theobject of studyis the genre of Neapolitan song. Thesubject of researchis the process of genre evolution depending on the musical-historical context, stylistic attitudes of the epoch and individual creativity of the composer.Theaim of the study is to understand Neapolitan song as a holistic genre phenomenon in the process of its historical evolution: from the origins of folk and urban culture of the Middle Ages, varieties of Canzone Napoletana in different musical eras to the recognized canon of"Neapolitan song" at the turn of 19–20centuries. The generalization of the results of scientific research on the features of Canzone Napoletana as a genre phenomenon has shown that the information field development on Canzone Napoletana is extremely weak in Ukrainian, Russian and Chinese musicology, despite some steps in this direction (S. Burygin, O. Moskvin, Fang Yahong, Chang Jing Ge). Information on this topic is concentrated mostly in foreign sources, as well as the musical samples themselves, whichare a bibliographic rarity even in Italy. This led to recourse to the study of foreign sources, mostly Italian researchers.It is established that the preconditions of modern scientific thought aimed at studying the musical folklore of Naples first appeared in Italy in the 19th century (F. Cirelli, G. Ungarelli, C. Blazis and others). In the context of Romanticism's interest in folk culture, musicological explorations were more of a practical nature: the collection and recording of texts of Neapolitan songs, the musical notation of samples of verbal art. The first in this direction was the collection "Passatempi musicali" (1824) by G.LCottrau, which over the next 50 years gave rise to a whole wave of creation and publication of collections of Neapolitan songs in the 19th century (F.Florimo, T.Cottrau, W.deMello,L.Chiuratsi). The active phase of studying the song tradition of southern Italy dates back to the middle of the 20th century, which reflected the general trends of European art of the time, the widespread surge of interest in folklore from both composers and researchers. In Italy, these processes were associated with the activities of various personalities: anthropologist and historian of religions E.deMartino; music critic,ethonomusicologist D.Carpitella; composer and founder of the Neapolitan music ensembleNuova Compagnia di Canto PopolareR.deSimone; journalist, poet, author of the first encyclopedia of Neapolitan song E.deMoore; historian and journalist, author of the New Encyclopedia of Neapolitan Song Pietro Gargano, and others.They are united by an understanding of the music of southern Italy as a special culture that has yet to be discovered. Today, the historical past of the Canzone Napoletana is the object of close attention in Italy. We find among the scientific intelligence research scientists P.Schialo, R.DiMauro, G.Ruberti, and others; collective monographs"La canzone napoletana. Tra memoria e innovazione”(2013),“The Neapolitan Canzone in the Early Nineteenth Century as Cultivated in the Passatempi musicali of Guillaume Cottrau”(2015),which unites specialists from different scientific fields of sociology, anthropology, music historians, performers. They emphasize the importance of studying Neapolitan song at the interdisciplinary level in the following areas:historical(awareness of the laws of development taking into account crisis and stable periods, transformation of concepts),methodological (search for the most effective methods–tools for studying taking into account specialization, digital technology),scientific and analytical(research materials), morphological(consideration of Neapolitan song as an original branch of Italian music and European culture in general). The distinctive features of Neapolitan song are: the ability to sublimate the musical traditions of different Mediterranean peoples (P.Avalone); connection with the collective memory of the southerners, their special lifestyle, with religious practices, mythological beliefs (P.Avalone, M.Stazio). Neapolitan song is also studied as a cultural and economic phenomenon, a phenomenon that in a very short time has become a real "tourist" product, which,according to those involved in its development, fully represents the cultural identity of the southern region, acting as a cultural code of the nation and the Mediterranean in general (M.Stazio). An appeal to the works of Italian scientists of various profiles leads to the conclusion that this topic is relevant for contemporary art history. At the same time, based on the results of scientific research and own analytical observations, there is a lack of coverage in the scientific literature on the chosen topic of the period of existence of Canzone Napoletana from the Middle Ages to Romanticism. It is proved that the first mention of the song culture of the peoples of theIberian Peninsula dates back to the 13th century, available for study audio and musical material–ones to the 15th century. The first collections of madrigals and vilanelles, a song genre born in Naples, appeared in the 1530s. The rapid spread of vilanella (rural song) in solo and polyphonic versions throughout Italy, and then in other European countries, gives it the status of a mega-genre. The integration character is revealed due to the fact of combining folk and compositional lines,which is inherent in Italian vocal music. This allows us to consider Canzone Napoletana another stage in the line of lyrical genres: frotola–vilanella–madrigal.Analysis in the study of musical texts and audio recordings of several vilanelles of the 16th century performed by R.Fusco, NCCP ensemble, M.Beasley leads to the conclusion about the originality of the form of these samples (ААВСС), their melodic identity, which affects the modal system, which explains nature harmonization, evoking a feeling of true harmonious"freshness" and unusualness.The involvement of the Accordone and Pino Vittorio songs of the Xanti Yaca ensemble as material for the study of the songs of the Kingdom of Naples of the 17th–19th centuries confirms the genre diversity of the Neapolitan songculture of that time, forming stable features of the future classical canon of 19th century Neapolitan song. The most important of these is the quintessence of lyrical expression, which distinguishes Neapolitan song from a number of other vocal genres.Despite all the variety of plot motives–humorous scenes, parodies, songs of traders and artisans, the dance tarantella element–the love theme always remains the leading one in this type of work. The glorification of the beloved, the confession of feelings, the monologue of the suffering of the heart, often with a melodramatic tone, usually unfold in the Canzone Napolitana in inseparable connection with the beauty of nature of this region, the seascape. The dissertation research also describes the role ofmusic research and editorial work of composer Guillaume-Louis Cottrau. The collection of Neapolitan songs "Passatempi musicali" forehanded by him was considered, which included fragments from opera-buffa, ancient peasant songs, epic-lyrical songs, ballads,bandit songs and parody songs from the city cycle, improvisational songs. First published in 1824, it helped establish Canzone Napoletana in a European musical context. It is emphasized that thanks to the efforts of G.-L.Cottrau, a Frenchman by birth, recorded the oldest examples of the unique song heritage of the southern Italian region, which was further confirmed in ethnomusicological explorations of the 20th century.The music-theoretical information about Neapolitan songs of the last decades of the 19th–beginning of the 20th century, recognized as the "golden age"of this genre, is also generalized. The typicality of their form (verse, AB), similarity of textural and harmonious decision, predominance of cantilena, simplicity of melodic drawing and general "openness" of Canzone Napoletana to intonation dialogue with any vocal genres are emphasized. The scientific novelty of the presented dissertation research lies in the understanding of the internal unity of Italian song culture, in which Canzone Napoletana at the turn of the 19th and 20th centuries is considered the culmination of an evolutionary process in several centuries. Its beginning is in the song culture of the Middle Ages (carnival songs and frotols), its continuation is in the villanellas and madrigals of the 15th–16th centuries, and the opera style is baroque. An important stage in the evolution of the genre is the Romantic period–from 1824 to 1880, from the date of the spread of Neapolitan song in the musical space of Europe and in the works of many composers to the "golden age" of Neapolitan song ("Funicula-Funicula", and others), its popularity worldwide. This allows us to characterize the genre Canzone Napoletana as a holistic phenomenon that has formed over the centuries in music at the intersection of folk and professional practices and stylistic intersections, in the form of creative exchange of rural and urban vocal cultures, influenced by dance music, opera, art ofbel canto.
The dissertation is devoted to the theoretical study of the genre of Neapolitan song–a phenomenon associated with stable patterns of perception. Until recently,Canzone Napoletana seemed a definite layer of vocal culture with specific characteristics, due to its popularity in the field of salon and "light music" from the late 19th century until the 1970s, when other non-pop forms of Canzone Napoletana were pushed out of musical context. "Santa Lucia", "O 'Sole Mio", "Torna a Surriento" along with other examples of poets S. DiGiacomo, L. Bovio, E. Murolo, composers T. Cottrau, E. Di Capua, L. Denza, and others, with their characteristic melodramatic content, emphasized by cantilena melodies, spicy harmonies and Neapolitan dialect, were considered aclassical canon and almost the only form of Neapolitan song, which began to take shape only in the 1830s.However, in a situation of maximum clarity, a number of questions remained unsolved, the most important of which is the next. What are the origins ofthis phenomenon? What genre varieties of Italian folk song during its centuries-old history have influenced the formation of a canon that is recognized as classical? As an example of the artistic synthesis of professional / composer and folk / amateur traditions, Neapolitan song,whose chronological affiliation is clearly defined in reference books (late 19th–early 20th centuries), needs a new look, more systematic and comprehensive. It is this approach that can solve the problem of "white spots" on the origins of Canzone Napoletana, its genre varieties, which are put forward in the process of historical evolution. These provisions determine therelevanceof the proposed topic, allow to summarize the achievements of scientific thought and to attract stillunexplored musical material. Theobject of studyis the genre of Neapolitan song. Thesubject of researchis the process of genre evolution depending on the musical-historical context, stylistic attitudes of the epoch and individual creativity of the composer.Theaim of the study is to understand Neapolitan song as a holistic genre phenomenon in the process of its historical evolution: from the origins of folk and urban culture of the Middle Ages, varieties of Canzone Napoletana in different musical eras to the recognized canon of"Neapolitan song" at the turn of 19–20centuries. The generalization of the results of scientific research on the features of Canzone Napoletana as a genre phenomenon has shown that the information field development on Canzone Napoletana is extremely weak in Ukrainian, Russian and Chinese musicology, despite some steps in this direction (S. Burygin, O. Moskvin, Fang Yahong, Chang Jing Ge). Information on this topic is concentrated mostly in foreign sources, as well as the musical samples themselves, whichare a bibliographic rarity even in Italy. This led to recourse to the study of foreign sources, mostly Italian researchers.It is established that the preconditions of modern scientific thought aimed at studying the musical folklore of Naples first appeared in Italy in the 19th century (F. Cirelli, G. Ungarelli, C. Blazis and others). In the context of Romanticism's interest in folk culture, musicological explorations were more of a practical nature: the collection and recording of texts of Neapolitan songs, the musical notation of samples of verbal art. The first in this direction was the collection "Passatempi musicali" (1824) by G.LCottrau, which over the next 50 years gave rise to a whole wave of creation and publication of collections of Neapolitan songs in the 19th century (F.Florimo, T.Cottrau, W.deMello,L.Chiuratsi). The active phase of studying the song tradition of southern Italy dates back to the middle of the 20th century, which reflected the general trends of European art of the time, the widespread surge of interest in folklore from both composers and researchers. In Italy, these processes were associated with the activities of various personalities: anthropologist and historian of religions E.deMartino; music critic,ethonomusicologist D.Carpitella; composer and founder of the Neapolitan music ensembleNuova Compagnia di Canto PopolareR.deSimone; journalist, poet, author of the first encyclopedia of Neapolitan song E.deMoore; historian and journalist, author of the New Encyclopedia of Neapolitan Song Pietro Gargano, and others.They are united by an understanding of the music of southern Italy as a special culture that has yet to be discovered. Today, the historical past of the Canzone Napoletana is the object of close attention in Italy. We find among the scientific intelligence research scientists P.Schialo, R.DiMauro, G.Ruberti, and others; collective monographs"La canzone napoletana. Tra memoria e innovazione”(2013),“The Neapolitan Canzone in the Early Nineteenth Century as Cultivated in the Passatempi musicali of Guillaume Cottrau”(2015),which unites specialists from different scientific fields of sociology, anthropology, music historians, performers. They emphasize the importance of studying Neapolitan song at the interdisciplinary level in the following areas:historical(awareness of the laws of development taking into account crisis and stable periods, transformation of concepts),methodological (search for the most effective methods–tools for studying taking into account specialization, digital technology),scientific and analytical(research materials), morphological(consideration of Neapolitan song as an original branch of Italian music and European culture in general). The distinctive features of Neapolitan song are: the ability to sublimate the musical traditions of different Mediterranean peoples (P.Avalone); connection with the collective memory of the southerners, their special lifestyle, with religious practices, mythological beliefs (P.Avalone, M.Stazio). Neapolitan song is also studied as a cultural and economic phenomenon, a phenomenon that in a very short time has become a real "tourist" product, which,according to those involved in its development, fully represents the cultural identity of the southern region, acting as a cultural code of the nation and the Mediterranean in general (M.Stazio). An appeal to the works of Italian scientists of various profiles leads to the conclusion that this topic is relevant for contemporary art history. At the same time, based on the results of scientific research and own analytical observations, there is a lack of coverage in the scientific literature on the chosen topic of the period of existence of Canzone Napoletana from the Middle Ages to Romanticism. It is proved that the first mention of the song culture of the peoples of theIberian Peninsula dates back to the 13th century, available for study audio and musical material–ones to the 15th century. The first collections of madrigals and vilanelles, a song genre born in Naples, appeared in the 1530s. The rapid spread of vilanella (rural song) in solo and polyphonic versions throughout Italy, and then in other European countries, gives it the status of a mega-genre. The integration character is revealed due to the fact of combining folk and compositional lines,which is inherent in Italian vocal music. This allows us to consider Canzone Napoletana another stage in the line of lyrical genres: frotola–vilanella–madrigal.Analysis in the study of musical texts and audio recordings of several vilanelles of the 16th century performed by R.Fusco, NCCP ensemble, M.Beasley leads to the conclusion about the originality of the form of these samples (ААВСС), their melodic identity, which affects the modal system, which explains nature harmonization, evoking a feeling of true harmonious"freshness" and unusualness.The involvement of the Accordone and Pino Vittorio songs of the Xanti Yaca ensemble as material for the study of the songs of the Kingdom of Naples of the 17th–19th centuries confirms the genre diversity of the Neapolitan songculture of that time, forming stable features of the future classical canon of 19th century Neapolitan song. The most important of these is the quintessence of lyrical expression, which distinguishes Neapolitan song from a number of other vocal genres.Despite all the variety of plot motives–humorous scenes, parodies, songs of traders and artisans, the dance tarantella element–the love theme always remains the leading one in this type of work. The glorification of the beloved, the confession of feelings, the monologue of the suffering of the heart, often with a melodramatic tone, usually unfold in the Canzone Napolitana in inseparable connection with the beauty of nature of this region, the seascape. The dissertation research also describes the role ofmusic research and editorial work of composer Guillaume-Louis Cottrau. The collection of Neapolitan songs "Passatempi musicali" forehanded by him was considered, which included fragments from opera-buffa, ancient peasant songs, epic-lyrical songs, ballads,bandit songs and parody songs from the city cycle, improvisational songs. First published in 1824, it helped establish Canzone Napoletana in a European musical context. It is emphasized that thanks to the efforts of G.-L.Cottrau, a Frenchman by birth, recorded the oldest examples of the unique song heritage of the southern Italian region, which was further confirmed in ethnomusicological explorations of the 20th century.The music-theoretical information about Neapolitan songs of the last decades of the 19th–beginning of the 20th century, recognized as the "golden age"of this genre, is also generalized. The typicality of their form (verse, AB), similarity of textural and harmonious decision, predominance of cantilena, simplicity of melodic drawing and general "openness" of Canzone Napoletana to intonation dialogue with any vocal genres are emphasized. The scientific novelty of the presented dissertation research lies in the understanding of the internal unity of Italian song culture, in which Canzone Napoletana at the turn of the 19th and 20th centuries is considered the culmination of an evolutionary process in several centuries. Its beginning is in the song culture of the Middle Ages (carnival songs and frotols), its continuation is in the villanellas and madrigals of the 15th–16th centuries, and the opera style is baroque. An important stage in the evolution of the genre is the Romantic period–from 1824 to 1880, from the date of the spread of Neapolitan song in the musical space of Europe and in the works of many composers to the "golden age" of Neapolitan song ("Funicula-Funicula", and others), its popularity worldwide. This allows us to characterize the genre Canzone Napoletana as a holistic phenomenon that has formed over the centuries in music at the intersection of folk and professional practices and stylistic intersections, in the form of creative exchange of rural and urban vocal cultures, influenced by dance music, opera, art ofbel canto.
Опис
Ключові слова
неаполітанська пісенна культура, народна творчість південно-італійського регіону, жанр, етномузикологія в Італії, Сanzone Napoletanа, Neapolitan song culture, folk art of the southern Italian region, genre, ethnomusicology in Italy
Бібліографічний опис
Ян, Фуїнь Жанр неаполітанської пісні XVI–XIX століть (теоретичний аналіз) [Текст] : дис. на здобуття наук. ступеня доктора філософії : [спец.] 025 "Музичне мистецтво" / Ян Фуїнь ; М-во культури та інформ. політики України, Сумський держ. пед. ун-т ім. А. С. Макаренка ; [Харківський нац. ун-т мистецтв ім. І. П. Котляревського] ; наук. керівник С. Г. Анфілова. – Харків, 2021. – 205 с.