Образ Китаю в європейському музичному мистецтві: жанрово-стильові аспекти

Цзен, Тао

Образ Китаю в європейському музичному мистецтві: жанрово-стильові аспекти

Цзен, Тао

URI: http://elib.nakkkim.edu.ua/handle/123456789/2381

Date: 2016

Abstract:

Обрана тема дослідження визначила потребу залучення різнопланового міждисциплінарного наукового апарату й розбудованої категоріальної системи, серед яких базовим поняттям є образ країни. Його проекція на вокальну музичну синологію в історико-естетичному контексті продемонструвала недостатність чи вибірковість досліджень на рівнях міжкультурної комунікації, соціокультурної еволюції вектору СхідЗахід, окремих композиторських шкіл, творчих індивідуальностей, стильових явищ, жанрової систематизації. Здійснений аналіз дає підставу виокремити в переліку представників європейських композиторських шкіл провідні, де приклади досліджуваної тематики фігурують статистично найбільш чисельно. Безумовними лідерами постають французькі, німецько-австрійські та російські митці, творчості національних композиторських шкіл яких притаманні певні відмінності у підходах до осмислення даної тематично-жанрової сфери.

Description:

The topic of the research required the inclusion of the multifaceted interdisciplinary scientific logical system and a developed categorical system, within which the category of “the image of the country” constitutes the key point. Its projection onto the vocal music Sinology within the historical and aesthetic contexts reveals the scarcity or partiality of previous researches on the topic on the levels of cross-cultural communication, sociocultural evolution on the East-West axis, domains of composition schools, creative personalities, stylistic phemomena, and genre classification. Aesthetic-philosophy and artistic trend observation allows the systematisation of some common features to be conducted, and thereafter, the chronology of form modifications of the China’s image in the European culture to be figured out. The conducted analysis justifies the highlight of representatives of several schools amongst the European composition schools, which include German, British, French, Hungarian, Italia, Danish, Swedish, Russian, Ukrainian, Polish ones, etc., and the U.S. school, because of their largest involvement in current topic’s research subject. The composers, providing the statistically most significant examples on the research’s topic are French, German, Austrian, and Russian; the mentioned states’ representatives pertain distinctive approaches to the interpretation of the thematic and genre scopes. The musical heritage of the French composers is widely represented in such genres, as the national varieties of the genre of opera that include the comic opera and operetta; the leading genres of chamber and vocal art-songs, which have their roots in the graceful and sensitive text interpretation (“poème”, “mélodies” and “chanson réaliste”); the short cycles formed out of the aforesaid art-song genres, such as diptychs and triptychs. The main objectives thereby consist of the declamatory style, polistylistic chinoiserie complexes with the rococo stylization, Victorian era, decadence and secession stylization. The Germany-Austria branch of the compositions inspired by the image of China is the most numerously represented in different genres, composed on the poetic translations by H. Bethge. The initial impetus for a significant portion of them was the choral symphony “Das Lied von der Erde” by G. Mahler, who laid the important foundations of interpretive approaches at the level of imagery, forms, cycle dramaturgy, tonal nature, and other means of expression. Symphonic cycle-type suites and song cycles accompanied by an orchestra or an ensemble become dominant, as well as the vocal symphony genre with a coherent plot and symbolic drama. Conditionality of the Orientalism in the vocal part is its return gets the profound psychological subtext, instrumental illustrative exoticism. The peculiarity of the creative principles of the Russian school of composition in the field of current analysis is the picturesque exoticism, keeping to the exo-ethnographic principle yet excludding the profound ideological system and the modal-intonational mentality paradigm despite the territorial proximity. It features mainly the decadent and secession-romantic stylistics, the virtual absence of authentic folk music material. The study period is distinguished by the growth of a number of choral and chamber vocal genre compositions based on the professional poetic translation, where the level of comprehension of philosophical positions, aesthetics and expressiveness acquire a much greater depth. On the basis of this analysis we can observe the evolution of the process of representation of the image of China, due to such factors as: the history, aesthetic outlook, and stylistic principles. These factors cause the equillibrium of the conventionality between the Orientalism and the Exotism, the gradual development of the viewpoints of the European artists towards the conciseness, systems of images and symbols, structure and combinatorics, generation of the coherent ideological system that is peculiar to another civilization, and, lastly, the elimination of transcultural stereotypes.

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