Європейське сценічно‐вокальне мистецтво та фортепіанне виконавство ХХ – початку ХХІ століття: стильовий аспект
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Дата
2022
Назва журналу
Номер ISSN
Назва тому
Видавець
СумДПУ імені А. С.Макаренка
Анотація
На основі аналізу історико‐культурного та музикознавчого доробку визначено стан розробленості проблеми розвитку сценічно‐вокального мистецтва та фортепіанного виконавства ХХ початку ХХІ століття в аспекті стильового аналізу. встановлено, що означені музичні явища розвивались під впливом європейсько‐історичних чинників, національних та сакрально‐релігійних впливів; розквіт композиторської школи та виконавського мистецтва, культурних традицій певного етносу тощо. Зазначено інтерпретаційні, стильові та жанрові ознаки сценічно‐вокального мистецтва та фортепіанного виконавства означеного періоду, які розкривають зміст та тенденції розвитку музичної культури; наведено приклади музичних творів в конексті семантичного та музикознавчого аналізу. Представлені результати робот можуть бути запровадженні в подальші наукові розвідки, присвячені дослідженню стильових аспектів музики ХХІ століття в контексті національних та європейських домінант.
On the basis of the analysis of historical, cultural and musicological work, the state of development of the problem of the development of stage‐vocal art and piano performance of the 20th and early 21st centuries in terms of stylistic analysis is determined. it was established that the specified musical phenomena developed under the influence of European‐historical factors, national and sacred‐religious influences; the flourishing of the composer school and performing arts, cultural traditions of a certain ethnic group, etc. The interpretative, stylistic, and genre features of stage‐vocal art and piano performance of the specified period are indicated, which reveal the content and trends of the development of musical culture; examples of musical works in the context of semantic and musicological analysis are given. The presented results of the work can be introduced into further scientific explorations devoted to the study of stylistic aspects of music of the 21st century in the context of national and European dominants. First, the productivity of East‐West analogies in artistic solutions is largely determined by the internal "openness" of the method of creativity in the embodiment of another regional cultural layer, which is, for example, symbolism and the art approaches of the 20th century generated by it. Secondly, the commonality in certain aspects of timbral and intonation allows to build convincing performance concepts of the whole in the case of involving non‐national indicators in the composer's text (theworks of H. Mahler based on the poems of Chinese poets). Thirdly, the performance angle of listening to the works of non‐national and sense authors made it possible to reveal the "hidden" meaningful reserves of the works of great musicians, which, according to the laws of the artistic universe, embody a super‐individual experience of a huge scale, of which only a small part becomes the property of the consciousness of the author himself and his immediate environment . The basis of analogies in artistic and cultural interactions between the East and the West can be found in the spread of European compositional professionalism as a concentrated expression of civilizational specialization in the East. Moreover, we draw attention to the fact that the composer's authorship determines the specificity of the Western European approach, which has been mastered in Europe as a whole, but is unacceptable for European countries that make up the consistent implementation of the Orthodox Christian tradition. The Eastern Christian Church in Ukraine, Bulgaria and some other countries did not become an obstacle in the creation of an original school of composers. But in the country that is the source of Orthodoxy, in Greece, the development of professional composers' authorial creativity has serious worldview obstacles. The largest representatives of the composer layers work either outside Greece (Y. Xenakis, A. Vangelis, D. Terzakis), or in ideological isolation from church institutions (M. Theodorakis is a convinced communist‐atheist).
On the basis of the analysis of historical, cultural and musicological work, the state of development of the problem of the development of stage‐vocal art and piano performance of the 20th and early 21st centuries in terms of stylistic analysis is determined. it was established that the specified musical phenomena developed under the influence of European‐historical factors, national and sacred‐religious influences; the flourishing of the composer school and performing arts, cultural traditions of a certain ethnic group, etc. The interpretative, stylistic, and genre features of stage‐vocal art and piano performance of the specified period are indicated, which reveal the content and trends of the development of musical culture; examples of musical works in the context of semantic and musicological analysis are given. The presented results of the work can be introduced into further scientific explorations devoted to the study of stylistic aspects of music of the 21st century in the context of national and European dominants. First, the productivity of East‐West analogies in artistic solutions is largely determined by the internal "openness" of the method of creativity in the embodiment of another regional cultural layer, which is, for example, symbolism and the art approaches of the 20th century generated by it. Secondly, the commonality in certain aspects of timbral and intonation allows to build convincing performance concepts of the whole in the case of involving non‐national indicators in the composer's text (theworks of H. Mahler based on the poems of Chinese poets). Thirdly, the performance angle of listening to the works of non‐national and sense authors made it possible to reveal the "hidden" meaningful reserves of the works of great musicians, which, according to the laws of the artistic universe, embody a super‐individual experience of a huge scale, of which only a small part becomes the property of the consciousness of the author himself and his immediate environment . The basis of analogies in artistic and cultural interactions between the East and the West can be found in the spread of European compositional professionalism as a concentrated expression of civilizational specialization in the East. Moreover, we draw attention to the fact that the composer's authorship determines the specificity of the Western European approach, which has been mastered in Europe as a whole, but is unacceptable for European countries that make up the consistent implementation of the Orthodox Christian tradition. The Eastern Christian Church in Ukraine, Bulgaria and some other countries did not become an obstacle in the creation of an original school of composers. But in the country that is the source of Orthodoxy, in Greece, the development of professional composers' authorial creativity has serious worldview obstacles. The largest representatives of the composer layers work either outside Greece (Y. Xenakis, A. Vangelis, D. Terzakis), or in ideological isolation from church institutions (M. Theodorakis is a convinced communist‐atheist).
Опис
Ключові слова
стиль, семантичний та стильовий аналіз, сценічно‐ вокальне мистецтво, фортепіанне виконавство, європейський вплив, українські та китайські композитори, музичні твори, інтерпретація, творчість, вокалісти, піаністи, музична культура, порівняльний аналіз, style, semantic and stylistic analysis, stage and vocal art, piano performance, European influence, Ukrainian and Chinese composers, musical works, interpretation, creativity, vocalists, pianists, musical culture, comparative analysis
Бібліографічний опис
Устименко‐Косоріч О. Європейське сценічно‐вокальне мистецтво та фортепіанне виконавство ХХ – початку ХХІ століття: стильовий аспект [Текст] / О. Устименко‐Косоріч, О. Стахевич, А.Єрьоменко // Педагогічні науки: теорія, історія, інноваційні технології : науковий журнал / МОН України, Сумський державний педагогічний ун-т ім. А. С. Макаренка ; [редкол.: А. А. Сбруєва, М. А. Бойченко, О. А. Біда та ін.]. – Суми : СумДПУ ім. А. С. Макаренка, 2022. – № 4 (118). – С. 239–248. – DOI: 10.24139/2312‐5993/2022.04/239‐248