Художній образ перпетуум мобіле в європейській музиці ХІХ – першої половини ХХ століття
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Дата
2020
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Анотація
У дисертації досліджено художні образи перпетуум мобіле у творчості європейських композиторів ХІХ – першої половини ХХ століть (Ш. В. Алькана, Б. Бартока, С. Борткевича, Б. Бріттена, К. М. Вебера, Г. Малера О. Мосолова, Ф. Мендельсона, А. Онеґґера, Н. Паганіні, С. Прокоф'єва, М. Равеля, М. Сільванського, Д. Шостаковича, Ф. Шуберта та ін.). Мета роботи полягає в обґрунтуванні концепції художніх образів перпетуум мобіле в європейській музиці означеного періоду, виявленні їх специфіки, виходячи з особливостей художньо-стильових та формотворчих рішень у різних композиторів.
Охарактеризовано трансформації звукообразу перпетуум мобіле від романтичних пантеїстичних утілень ХІХ ст. до антимілітаристських образів безперервного руху першої половини ХХ ст. Визначено загальні (остинатність, механістичність, повторюваність, монотематизм) та індивідуальні (фактурні, композиційні, семантичні) риси звукообразу перпетуум мобіле. Удосконалено поняття про українську інструментальну музику першої половини ХХ ст. через виявлення образів перпетуум мобіле, що відзеркалено у неоромантичних традиціях. Обґрунтований універсальний характер образу безперервного руху, що має трансісторичне та інтернаціональне значення в європейській музиці.
The dissertation explores the artistic images of the perpetuum mobile in the works of European composers of the 19th – first half of the 20th centuries (Sh. V. Alkan, B. Bartok, S. Bortkevich, B. Britten, K. M. Weber, A. Onener, G. Mahler V. Mosolov, F. Mendelssohn, N. Paganini, S. Prokofiev, M. Ravel, M. Silvansky, D. Shostakovich, F. Schubert and others). The purpose of the work is to substantiate the concept of artistic images of perpetuum mobile in European music of a certain period, to identify their specifics, based on the features of artstyle and form-making decisions of various composers. The transformations of the sound images of the perpetuum mobile from the romantic pantheistic incarnations of the 19th century to the anti-militaristic images of the continuous movement of the first half of the twentieth century are characterized. The general (ostinatism, mechanistic, repeatability, monothematism) and individual (textured, compositional, semantic) features of the sound image of the perpetuum mobile are determined. The concept of Ukrainian instrumental music of the first half of the twentieth century is expanded through the revealed images of the perpetuum mobile, depicted in neo-romantic traditions. The universal nature of the perpetuum mobile image, which has transistorical and international significance in European music, is substantiated. Since the symbol of perpetual motion comes from Eastern philosophy, came to European culture in various incarnations - from technical reminiscences to images in various fields of art, the study of his artistic images required an interdisciplinary nature of research. The work uses the achievements of historical, philosophical, art, philological, culturological, natural sciences, etc. Science. Due to this, different and common features in the characteristics of artistic images of perpetual motion in the European musical culture of the XIX–XX centuries are generalized. Man-made civilization, in the conditions of which humanity has existed for the last centuries, is gaining more and more influence on all spheres of human life, from social conditions and relations to the inner spiritual world. Production, research, education, culture are general social factors that operate on technological schemes, have the ability to change rapidly. As a result, human individuality must meet the requirements of society, be mobile in order to adapt to the fleeting rhythms of modern life. In these conditions, musical culture, which, on the one hand, is a reflection of socio-cultural changes, and on the other – accumulates spiritual artistic achievements, is an inexhaustible source of wisdom of mankind. From this point of view, the study of embodiments of continuous motion provides an opportunity to illuminate the sound image of perpetual motion machine as a universal phenomenon that reflects the technological impact of civilization on culture.
The dissertation explores the artistic images of the perpetuum mobile in the works of European composers of the 19th – first half of the 20th centuries (Sh. V. Alkan, B. Bartok, S. Bortkevich, B. Britten, K. M. Weber, A. Onener, G. Mahler V. Mosolov, F. Mendelssohn, N. Paganini, S. Prokofiev, M. Ravel, M. Silvansky, D. Shostakovich, F. Schubert and others). The purpose of the work is to substantiate the concept of artistic images of perpetuum mobile in European music of a certain period, to identify their specifics, based on the features of artstyle and form-making decisions of various composers. The transformations of the sound images of the perpetuum mobile from the romantic pantheistic incarnations of the 19th century to the anti-militaristic images of the continuous movement of the first half of the twentieth century are characterized. The general (ostinatism, mechanistic, repeatability, monothematism) and individual (textured, compositional, semantic) features of the sound image of the perpetuum mobile are determined. The concept of Ukrainian instrumental music of the first half of the twentieth century is expanded through the revealed images of the perpetuum mobile, depicted in neo-romantic traditions. The universal nature of the perpetuum mobile image, which has transistorical and international significance in European music, is substantiated. Since the symbol of perpetual motion comes from Eastern philosophy, came to European culture in various incarnations - from technical reminiscences to images in various fields of art, the study of his artistic images required an interdisciplinary nature of research. The work uses the achievements of historical, philosophical, art, philological, culturological, natural sciences, etc. Science. Due to this, different and common features in the characteristics of artistic images of perpetual motion in the European musical culture of the XIX–XX centuries are generalized. Man-made civilization, in the conditions of which humanity has existed for the last centuries, is gaining more and more influence on all spheres of human life, from social conditions and relations to the inner spiritual world. Production, research, education, culture are general social factors that operate on technological schemes, have the ability to change rapidly. As a result, human individuality must meet the requirements of society, be mobile in order to adapt to the fleeting rhythms of modern life. In these conditions, musical culture, which, on the one hand, is a reflection of socio-cultural changes, and on the other – accumulates spiritual artistic achievements, is an inexhaustible source of wisdom of mankind. From this point of view, the study of embodiments of continuous motion provides an opportunity to illuminate the sound image of perpetual motion machine as a universal phenomenon that reflects the technological impact of civilization on culture.
Опис
Ключові слова
перпетуум мобіле, художній образ, звукообраз, романтизм, неоромантизм, техніцизм, модернізм, міфологема, perpetuum mobile, artistic image, sound image, romanticism, neo-romanticism, technicalism, modernism, mythologem
Бібліографічний опис
Борисенко, Т. В. Художній образ перпетуум мобіле в європейській музиці ХІХ – першої половини ХХ століття [Текст] : автореф. дис. ... канд. мистецтвознавства : спец. 17.00.03 – музичне мистецтво / Борисенко Тетяна Вікторівна ; СумДПУ імені А. С. Макаренка ; науковий керівник О. С. Афоніна. – Київ, 2020. – 22 с.