Особливості формування латиноамериканських національних композиторських шкіл у контексті інтегрованої мистецької освіти
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Дата
2019
Назва журналу
Номер ISSN
Назва тому
Видавець
СумДПУ імені А. С. Макаренка
Анотація
У статті проаналізовано особливості інтегрованої мистецької освіти на прикладі вивчення курсу «Мистецтво (пізнавальна складова)» в коледжі культури і мистецтва як предмету профільної школи. На прикладі теми «Музичне мистецтво Латинської Америки» доведено необхідність глибшого висвітлення тем пізнавальної складової навчальної дисципліни в порівнянні з рівнем стандарту. Висвітлено специфіку розвитку музичного мистецтва Латинської Америки постколоніального періоду, описано причини та особливості багатошаровості музичної культури регіону, схарактеризовано стильові риси провідних композиторів Аргентини, Бразилії, Куби, Мексики.
The aim of the article is to highlight peculiarities of the Latin American national composition schools formation in the context of teaching the integrated course «Art (cognitive component)» in profile higher education institutions of culture and arts of 1–2 levels of accreditation. Research methods: general scientific (analysis, synthesis, comparison, generalization, systematization) for studying scientific sources on the history of Latin American composers music and creativity, defining the directions of the postcolonial musical art development. Specific-scientific: a method of music analysis, by which the features of Latin America leading composers’ style were determined; a hermeneutic method used to describe the phenomenon of musical nationalism and the Aztec Renaissance; a method of scientific extrapolation – to reveal the historical specificity of the Latin American musical art development at the postcolonial period. Research results. Among the common Latin American countries, the principles of the musical nationalism embodiment are distinguished: the use of archaic (Indian) instruments along with the European symphony orchestra traditional instruments; the use of polyrhythms, austenitic rhythm complexes, irregular meters, syncopes; combination of diatonic, non-semitone and chromatic; a complicated quart-quintus and sonar-noise vertical; citation of folk melodies, generalized reproduction of the national folklore features characteristic, free manipulation by means of different strata of own folklore; the search for the rhythm-intonational affinity of national folklore and European genres; free manipulation by means of various European historical epochs. Conclusions and prospects. Understanding by Latin American composers of their own cultural heritage on the basis of European neo-folklorism has led to the formation of the ideology of spiritual and artistic “nationalism”, embodied as “negrozm” in Cuba and in Brazil, “indianism” in Argentina, “Aztec Renaissance” in Mexico. It also made possible a specific Latin American image of artistic and musical thinking. However, “musical nationalism” had its opponents in all Latin American countries. In Argentina and Mexico it was expressed in the work of Mauricio Kagel and Julian Carrillo. Studying the influence of their creativity on the region and the world musical culture, as well as methodological comments on the presentation of information about them in the integrated course “Art (cognitive component)” in the specialized education institutions of 1–2 accreditation’s levels, can create prospects for further exploration.
The aim of the article is to highlight peculiarities of the Latin American national composition schools formation in the context of teaching the integrated course «Art (cognitive component)» in profile higher education institutions of culture and arts of 1–2 levels of accreditation. Research methods: general scientific (analysis, synthesis, comparison, generalization, systematization) for studying scientific sources on the history of Latin American composers music and creativity, defining the directions of the postcolonial musical art development. Specific-scientific: a method of music analysis, by which the features of Latin America leading composers’ style were determined; a hermeneutic method used to describe the phenomenon of musical nationalism and the Aztec Renaissance; a method of scientific extrapolation – to reveal the historical specificity of the Latin American musical art development at the postcolonial period. Research results. Among the common Latin American countries, the principles of the musical nationalism embodiment are distinguished: the use of archaic (Indian) instruments along with the European symphony orchestra traditional instruments; the use of polyrhythms, austenitic rhythm complexes, irregular meters, syncopes; combination of diatonic, non-semitone and chromatic; a complicated quart-quintus and sonar-noise vertical; citation of folk melodies, generalized reproduction of the national folklore features characteristic, free manipulation by means of different strata of own folklore; the search for the rhythm-intonational affinity of national folklore and European genres; free manipulation by means of various European historical epochs. Conclusions and prospects. Understanding by Latin American composers of their own cultural heritage on the basis of European neo-folklorism has led to the formation of the ideology of spiritual and artistic “nationalism”, embodied as “negrozm” in Cuba and in Brazil, “indianism” in Argentina, “Aztec Renaissance” in Mexico. It also made possible a specific Latin American image of artistic and musical thinking. However, “musical nationalism” had its opponents in all Latin American countries. In Argentina and Mexico it was expressed in the work of Mauricio Kagel and Julian Carrillo. Studying the influence of their creativity on the region and the world musical culture, as well as methodological comments on the presentation of information about them in the integrated course “Art (cognitive component)” in the specialized education institutions of 1–2 accreditation’s levels, can create prospects for further exploration.
Опис
Ключові слова
профільне навчання, мистецький заклад освіти, інтегрований курс «Мистецтво», музичне мистецтво Латинської Америки, музичний націоналізм, ацтекський ренесанс, profile education, artistic education institution, integrated course “Art”, musical art of Latin America, musical nationalism, Aztec Renaissance
Бібліографічний опис
Васильєва, Л. Л. Особливості формування латиноамериканських національних композиторських шкіл у контексті інтегрованої мистецької освіти [Текст] / Л. Л. Васильєва // Педагогічні науки: теорія, історія, інноваційні технології : науковий журнал / МОН України, Сумський держ. пед. ун-т ім. А. С. Макаренка ; [редкол.: А. А. Сбруєва, М. А. Бойченко, О. Є. Антонова та ін.]. – Суми : СумДПУ ім. А. С. Макаренка, 2019. – № 6 (90). – С. 12–23.